Racial Peeves: The Exploitation of Microaggressions documents my personal experience of dealing with microaggressions throughout my life, as well as the history of these racial issues. This thesis also documents the creation of my Senior BFA Exhibition of the same title inspired by 1970s Blaxploitation posters.

Sonder is an exploration of the relationship between digital media and graphic design through the creation of print and digital publications. At it’s very foundation, Sonder is a travel magazine with both a physical print publication and a digital publication designed for a tablet. It includes photography, articles, poetry, and travel tips. The print and the digital versions contain the same content, but explore different methods of presentation.

How to Be A Model Minority: Mastering the American Dream is a satirical instructional manual which teaches readers to be idealized Chinese Americans in order to integrate into American society. The booklet bases its standards off of the model minority myth, a conception of Asian Americans which assumes Asian Americans must repress their Asian heritage and embrace overachievement to attain the socioeconomic status of a middle class white American family. Through color illustrations, photos, and short expository texts, the booklet explains to readers how and why they should accept the standards of the model minority myth, and uses Asian American characters in popular television and movies as references. How to Be a Model Minority humorously deconstructs the model minority myth by exaggerating the expectations the myth places on Asian, particularly Chinese, Americans. This exaggeration allows the reader to question the validity of model minority expectations and the groups truly benefitting from these imposed standards. By examining media representations of Asian Americans, the booklet also suggests the role popular media has in disseminating cultural information.

Orientadores: Edson do Prado Pfutzenreuter, Ann Paula Silva Gouveia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T22:17:18Z (GMT). No. of bitstreams: 1 Naufel_CarinadaRocha_M.pdf: 149350942 bytes, checksum: 0ba5a65c3bf8cc18801f28873aa9bfeb (MD5) Previous issue date: 2012 / Resumo: As capas de livros analisadas nesta pesquisa foram criadas por Marius Lauritzen Bern para a editora Civilização Brasileira na década de 60 no Brasil. Marius Bern foi um designer brasileiro autodidata que iniciou sua carreira através das artes plásticas durante um período em que não havia a formalização do ensino de design no Brasil. Sua parceria com a editora Civilização Brasileira foi estabelecida através do editor Ênio Silveira no ano de 1965, após a saída do designer Eugênio Hirsch. No período de 1965 a 1970, Marius Bern permaneceu como principal designer da editora Civilização Brasileira. A Editora Civilização Brasileira pertencia ao editor Ênio Silveira, intelectual reconhecido no campo cultural brasileiro e importante na resistência contra a ditadura no Brasil. Ênio Silveira foi o grande incentivador das mudanças no design dos livros da editora. Em 1960 houve uma ruptura das convenções gráficas na cultura editorial e, portanto no mercado de livros no Brasil. Circunstâncias específicas relativas ao exercício da atividade no período em questão, como o modo de criação e o processo de produção disponível então, foram abordados de modo a auxiliarem no entendimento do discurso gráfico das capas. Através da análise foi possível identificar algumas soluções visuais recorrentes na produção de capas de Marius Bern, o que permite algumas conclusões sobre sua produção / Abstract: This research focuses on analyzing Marius Lauritzen Bern's book cover production for Civilização Brasileira, during the 1960s. Marius was a self-taught designer who began his career in visual arts, in a time when the teaching of Design had still not been formalized in Brazil. Marius Bern began his partnership with the publishing Civilização Brasileira in 1965, through its visionary publisher Ênio Silveira. He joined them right after designer Eugênio Hirsch had left the company, and from 1965 to 1970 he stood as its chief designer. Ênio - owner of Civilização Brasileira - was considered an important Brazilian intellectual in the national cultural field and also an important figure in the fight against the military dictatorship. He was also the staunchest supporter of the changes adopted by the company in its book designs. The 1960s mark a twist in the graphic conventions adopted by the publishing culture and, therefore, in the Brazilian book market. Specific circumstances related to the practice of the profession, such as the ways in which book covers were created and the production processes that were available at the time, were addressed to ensure a better understanding of the graphic speech of the covers. Through the analysis it was possible to identify some recurrent visual solutions in Marius' book designs, which allow us to draw some conclusions regarding his work / Mestrado / Artes Visuais / Mestra em Artes

While industry is looking to graphic design education for the next top designers who have the knowledge and skills to be successful in their field (Bridges, King, Brown, & Luedeman, 2013), graphic design instructors often have a limited time to teach students the knowledge and skills they need to become successful designers (Landa, 2010; Kennedy et al., 2012; Liu, & Tourtellott, 2011). Most university-level graphic design courses, the traditional preparation pathway for future designers, focus on improving student’s design ability through hands-on projects that teach students how to use graphic design technology (Motley, 2017). In addition to hands-on graphic design experiences, many classrooms also use peer critique to allow students to critique and give feedback to peers while identifying the positive aspects of a design and suggesting improvements to be made (Motley, 2017). Students tend to improve their design when a classroom implements critique, including self and peer assessment, into the curriculum (Wanner, & Palmer, 2018). However, little is known about the relationship, if any exists, between a student’s ability to design and a student’s ability to critique. Therefore, this study will investigate the correlation between student critique and student design abilities with the intent of improving graphic design educational practices. Understanding this correlation may assist those involved with graphic design education to better prepare students for future employment by assisting instructors in using their limited teaching time most effectively. Specifically, a relationship between graphic design critique and graphic design skill may suggest that the limited time available for teaching should emphasize improving critique skills with the goal of also improving graphic design abilities. If no relationship between critique and design abilities exists, this may suggest that limited time should be spent engaging students in critique and other forms of teaching should be emphasized.

The aim of this thesis is to study social responsibility and find out what responsibilities the graphic designer may have and what they can do using their skill set as a designer to contribute in helping to better their community. Social responsibility needs to be addressed more within the design field. It needs to be introduced and taught to students at an early stage of their education, so as they fully understand the power and influence that their creations will have over society, and the role this plays in materialism, overconsumption and our modern day consumer-culture. Change needs to be made within graphic design and the urgency for this grows more and more for each day that passes. The graphic designer needs to critically reflect over the purpose of their work and answer the question of whom it stands to serve: their audience or consumer-culture. They need to move away from the creation of artificial needs and the promotion of unnecessary products, and move towards the creation of more useful and lasting communication that contributes to society.

This thesis describes the approach and results of the research to create a TRIZ based computer aided innovation tools (AEGIS and Design for Wow). This research has mainly been based around two tools created under this research: called AEGIS (Accelerated Evolutionary Graphics Interface System), and Design for Wow. Both of these tools are discussed in this thesis in detail, along with the test data, design methodology, test cases, and research. Design for Wow (http://www.designforwow.com) is an attempt to summarize the successful inventions/ designs from all over the world on a web portal which has multiple capabilities. These designs/innovations are then linked to the TRIZ Principles in order to determine whether innovative aspects of these successful innovations are fully covered by the forty TRIZ principles. In Design for Wow, a framework is created which is implemented through a review tool. The Design for Wow website includes this tool which has been used by researcher and the users of the site and reviewers to analyse the uploaded data in terms of strength of TRIZ Principles linked to them. AEGIS (Accelerated Evolutionary Graphics Interface System) is a software tool developed under this research aimed to help the graphic designers to make innovative graphic designs. Again it uses the forty TRIZ Principles as a set of guiding rules in the software. AEGIS creates graphic design prototypes according to the user input and uses TRIZ Principles framework as a guide to generate innovative graphic design samples. The AEGIS tool created is based on TRIZ Principles discussed in Chapter 3 (a subset of them). In AEGIS, the TRIZ Principles are used to create innovative graphic design effects. The literature review on innovative graphic design (in chapter 3) has been analysed for links with TRIZ Principles and then the DNA of AEGIS has been built on the basis of this study. Results from various surveys/ questionnaires indicated were used to collect the innovative graphic design samples and then TRIZ was mapped to it (see section 3.2). The TRIZ effects were mapped to the basic graphic design elements and the anatomy of the graphic design letters was studied to analyse the TRIZ effects in the collected samples. This study was used to build the TRIZ based AEGIS tool. Hence, AEGIS tool applies the innovative effects using TRIZ to basic graphic design elements (as described in section 3.3). the working of AEGIS is designed based on Genetic Algorithms coded specifically to implement TRIZ Principles specialized for Graphic Design, chapter 4 discusses the process followed to apply TRIZ Principles to graphic design and coding them using Genetic Algorithms, hence resulting in AEGIS tool. Similarly, in Design for Wow, the content uploaded has been analysed for its link with TRIZ Principles (see section 3.1 for TRIZ Principles). The tool created in Design for Wow is based on the framework of analysing the TRIZ links in the uploaded content. The ‘Wow’ concept discussed in the section 5.1 and 5.2 is the basis of the concept of Design for Wow website, whereby the users upload the content they classify as ‘Wow’. This content then is further analysed for the ‘Wow factor’ and then mapped to TRIZ Principles as TRIZ tagging methodology is framed (section 5.5). From the results of the research, it appears that the TRIZ Principles are a comprehensive set of innovation basic building blocks. Some surveys suggest that amongst other tools, TRIZ Principles were the first choice and used most .They have thus the potential of being used in other innovation domains, to help in their analysis, understanding and potential development.

Visual communication is a part of everyone's daily existence. It is a ubiquitous mode that shapes not only the environment that individuals inhabit, but the very identity of the individual. Graphic designers, who create the vast majority of the visual communication encountered, play a crucial role in the production of cultural identity. It is a necessity that designers understand that role, as agents of cultural production.[ethno]graphic design is an ever-evolving approach to graphic design which utilizes anthropological methods in the creative process. This document presents a collection of projects which take an anthropological approach to the design process, utilizing techniques developed by cultural anthropologists to aid the design process — primarily ethnographic fieldwork, participant observation, collaboration, multivocal representation and reflexivity.

Comparé à l’art contemporain chinois qui ne cesse de caracoler en tête du marché de l’art, le design graphique est un objet artistique, industriel et populaire, modeste dans ses ambitions culturelles. Toutefois ses enjeux présentent un important intérêt scientifique dès lors que toutes les productions spécifiques du design s’adressent davantage au peuple chinois qu’aux étrangers. Soumis à des commanditaires économiques et politiques, le design graphique en tant qu’objet de recherche témoigne non seulement des luttes existant à l’intérieur du champ du design chinois mais également de celles qui se livrent en pleine Chine postmoderne. Dans le cadre théorique des Etudes Culturelles, cette thèse considère que le design graphique recèle une fonction sociale et politique significative en Chine, dont les enjeux excèdent ceux que l’on pense être susceptibles de répondre à une simple fonction de communication commerciale. A partir d’analyse de quelques productions graphiques emblématiques historiques, cette recherche s’interroge sur la réactualisation de l’identité culturelle chinoise, en crise aujourd’hui. Au cours des périodes moderne, maoïste et postmoderne, le design graphique n’a cessé de participer à l’esprit du temps dominant. En tant que dispositif actif, socio-formant l’esprit et relevant de la culture, le design graphique intervient dans les processus de construction identitaire individuelle et collective. Cette recherche, après avoir rendu compte des rapports parfois ambigus ou incertains, exercés par les modèles graphiques hégémoniques et concurrentiels, s’attache à décrypter les actuelles tensions révélatrices de valeurs et visions du monde contradictoires. / Comparing to the Chinese contemporary art which constantly prance at the head of the art market, the graphic design is an artistic object, industrial and popular, and modest in its cultural ambitions. However, its stakes present a scientific interest important because all of the specific design productions direct to the Chinese people than the foreigners. Subject to the economic and political partners, the graphic design, as the object of research, attest the existing conflicts not only inside the field of Chinese design, but also engaged in the full postmodern China. In the theoretical frame of the Cultural Studies, this thesis considers that the graphic design receives a significant social and political function in China, those stakes exceed its simple function of commercial communication which we are likely to think. From analysis of some historic and symbolic graphic productions, this research examines the updating of the Chinese cultural identity, in crisis today. In modern times, Maoist and postmodern periods, the graphic design has continued to participate in the dominant spirit of the times. As an active device, socio-forming the spirit and arising from the culture, the graphic design intervenes in the processes of individual and collective identity construction. After reported the reports sometimes ambiguous or uncertain, which were exercised by the hegemonic and competitive graphic models, this research attempts to decipher the current revealing tensions of the values and visions in the contradictory world.

O desenvolvimento da obra do designer gráfico Fred Jordan e de sua experiência profissional é o objeto deste trabalho. Considerando que nas duas primeiras décadas de sua atividade não existe no Brasil um projeto acadêmico sistematizado e metodologia estabelecida para o conhecimento e para a prática na área do design gráfico, a análise aponta as diversas etapas de sua produção, que se estende de 1940 a 1990. Nesse processo, a pesquisa busca articular as diferentes fases dessa produção e os momentos históricos em que se realizam. Mostra a singularidade do trabalho de Jordan apontando­ a partir do uso da tecnologia, das técnicas, da temática, da adequação à evolução industrial e da diversificação do público consumidor - como seus projetos permitem perceber as transformações do campo de trabalho e do mercado. Dando ênfase ao cenário paulistano no qual atuou, ressalta-se seu papel no campo das artes gráficas, levando em conta o perfil dos grupos de profissionais de design no Brasil. Nesse quadro verificam-se elementos de sua formação, o círculo de amigos, o diálogo estabelecido com intelectuais, artistas e profissionais das artes visuais e do design,bem como suas áreas de interesse e de estudo. Para alcançar esse objetivo a pesquisa buscou reconstituir o itinerário do artista e de sua obra, por meio de ampla consulta bibliográfica e do levantamento e da organização do acervo da família. Parte desse material, constituído de textos que discutem seus trabalhos, permitiu apontar sua participação e influência no cenário cultural brasileiro e internacional. O estudo abriu espaço para a compreensão de vários aspectos da obra de Jordan: sua visão sobre o significado da arte e do artista; a articulação que estabeleceu entre o trabalho contemporâneo e a temática abordada por autores e artistas da primeira metade do século XIX na Alemanha;seus experimentos baseados, sobretudo na teoria das cores de Goethe e do pensamento naturalista do escritor alemão. Apresenta, ainda, um catálogo da obra de Fred Jordan e da documentação relacionada com sua produção / This thesis examines the development of graphic designer Fred Jordan\'s work and professional experience. No standard academic program or established approach for learning and practicing graphic design existed in Brazil during the first two decades of his career,and this analysis points out the distinct stages of Jordan\'s work between1940 and 1990. In the process, this research endeavors to describe the different phases of the designer\'s creative output against the historical background. lt demonstrates the significance of Jordan\'s work and how his projects allow us to understand the transformation of the graphic design discipline and industry, from his use of technology, techniques and themes, meeting the needs of the industrial revolution and the diversified consuming public. Focusing upon the Sao Paulo environment where he worked, the paper examines his influence on the field of visual arts,taking into account the profile of the professional design groups in Brazil at that time. Within this broader picture, it is possible to confirm the factors that influenced him, his circle of friends, his dialogue with intellectuals, artists and professionals in the visual arts and design community, as well as his areas of interest and study. To achieve this goal, the approach taken here was a recreation of the artist\'s life journey through extensive bibliographic research and a survey and organization of the Jordan family\'s collection of his work. Some of the sources, primarily the texts that discuss his work, bring to light Jordan\'s participation and influence on the Brazilian and international cultural scene. The study helps the reader understand several aspects of Jordan\'s work: his view of the meaning of art and the artist; the connection he made between contemporary design and themes employed by German authors and artists in the first half of the 19th Century;and his experiments based upon Goethe\'s Theory of Colours and the naturalistic thought of that German writer. Finally, it also presents a catalogue of Fred Jordan\'s designs and ofthe documentation related to his work.