[pt] O interesse no estudo dos flyers produzidos para a divulgação de festas de música eletrônica diz respeito à sua capacidade de traduzi-las em imagens. Esta potência estética tem sido reconhecida como um vetor criativo surgido no interior das culturas urbanas. Através da observação deste material, sua confecção e sua linguagem gráfica é possível ter contato com atitudes relativas a estes grupos e elementos simbólicos pertencentes ao imaginário deste universo. Esta análise é conduzida levando em questão o fato de que o comportamento dos indivíduos na contemporaneidade é trançado por relações intersubjetivas e experiências afetivas coletivas. Assim, a pesquisa de suas identidades e representações visuais visa revelar as particularidades que compõem a articulação entre o design gráfico e a produção material e estética dentro deste contexto cultural. / [en] The interest in the study of flyers produced for the dissemination of electronic music parties concerns their ability to translate those parties into images. This aesthetic power has been recognized as a creative vector arisen from within urban cultures. Through the study of this material, its production and its graphic language, it is possible to be in contact with attitudes and symbolic elements pertaining to the people who attend electronic music parties and their imaginary. This analysis is conducted taking into account the fact that the behavior of individuals in contemporary society is interwoven with intersubjective relations and collective affective experiences. Thus, the research concerning the identities of this group of individuals, and their visual representations, aims at revealing the peculiarities that build the link between graphic design and the material and aesthetic production within this cultural context.

Drawing maps for historians involves a number of distinct challenges. The historical cartographer must grapple not only with geological changes over time, but geographical ones, from human-cultural to physical, and from political to spatial. Original manuscripts must be read with close attention toward extracting geographical data, map sources must be vetted, and design challenges must be resolved. Furthermore, many of the antiquarian sources that are used to create current-day maps of historical times have unique scales, projections, and senses of place—all of which present complications that need to be overcome when creating historically based maps for publication. This thesis describes some of the quagmires that the historical cartographer encounters on a regular basis, and details methods for avoiding them. Using maps drawn by the author as source materials, techniques for creating historically cognizant, technically accurate, and elegant maps are examined and described as parts of the process of illustrating historians’ manuscripts. Ultimately, the goal of the historical cartographer is to create maps that provide readers with an easily graspable graphic methodology for understanding the arguments presented in the text. When this is done well, the maps support the legitimacy of the historian’s research and offer a clarity of vision that might otherwise be difficult with words alone.

Posters by Jaroslav Sůra The topic of this theses are the posters from the painter, graphic artist and illustrator Jaroslav Sůra (1921-2011). It is based primarily on his estate, that counts over 120 posters. For the comprehensive elaboration of his works this source is compared with other found designs. The theses follows his works chronologically and is divided into two main parts. The first is devoted to his studies and the beginnings of his artistic activity regarding fine art. The second, main part, focuses on posters itself. The chapters of this part detailly describe his works and put them into the context of contemporary art production.

The diploma thesis documents the 6 years long period of the Graphic Design Studio 1 and also contemplates the future of this "space" and the field in general.

La investigación plantea como objetivo principal el análisis del lenguaje visual de la caricatura política peruana desde 1978 a 1982 para representar la realidad del país durante la transición de poder del gobierno militar al democrático. Por esta razón, se buscó identificar si se desarrolló un lenguaje visual para representar situaciones coyunturales y personajes en las caricaturas, y si tuvo influencia en la percepción y legitimidad de la clase política. De este modo, se realizó un análisis de contenido de un total de 20 caricaturas publicadas en la revista Monos y Monadas y el diario Oiga, durante el periodo acotado, el cual se basó en un estudio denotativo y connotativo de cada elemento dentro de la pieza visual. Adicionalmente, se entrevistó a un caricaturista contemporáneo de la época para profundizar el panorama de la investigación. Entre los principales resultados se observó el uso frecuente de recursos retóricos como la metáfora y la oposición, la utilización del zoomorfismo y la personificación, así como la representación de personajes políticos a través de animales como perros y gorilas en estado salvaje e irracionales. Finalmente, el análisis de cada muestra permitió concluir que, durante el periodo delimitado, la opinión y crítica propia de la caricatura política se consolidó al punto de construir su propio lenguaje visual para representar la realidad del país. / The research has as its main objective the analysis of the visual language of the Peruvian political cartoon from 1978 to 1982 to represent the reality of the country during the transition from the power of the military government to the democratic one. For this reason, it was sought to identify if a visual language was developed to represent short-term situations and characters in the cartoons, and if it had an influence on the perception and legitimacy of the political class. Thereby, a content analysis was performaced of a total of 20 cartoons published in the magazine Monos y Monadas and the newspaper Oiga was made during the limited period, which was based on a denotative and connotative study of each element within the visual piece. Additionally, a contemporary cartoonist of the time was interviewed to deepen the research landscape. Among the main results are the frequent use of rhetorical resources such as metaphor and opposition, the use of zoomorphism and personification, as well as the representation of political characters through animals such as dogs and gorillas in the wild and irrational state. Finally, the analysis of each sample allowed us to conclude that, during the defined period, the opinion and criticism of the political cartoon was consolidated to the point of building its own visual language to represent the reality of the country. / Trabajo de investigación

[pt] A relevância inegável e esmagadora da publicidade para a sociedade de consumo faz surgir um novo movimento de crítica à sobrepujança das falácias imagéticas do cotidiano, a contramensagem. Germinada no seio do descontentamento com a soberania da propaganda, a contramensagem reacende por meio dos adbustings, o debate ético e ideológico sobre o poder persuasivo das imagens. Para ampliar o conhecimento sobre esta manifestação peculiar analisamos sua origem, recursos gráficos empregados, além de debater questões relevantes ao conflito entre Design comercial e responsabilidade social, temas intrinsecamente ligados ao aparecimento do adbusting. Através da Semiótica e da Retórica do Design Gráfico buscamos o aprofundamento na compreensão destes signos e das ferramentas persuasivas da contramensagem, bem como a avaliação de como o público reconstrói a mensagem desses signos. / [en] The overwhelming and undeniable relevance of advertising for the consumer society gives rise to the adbusting, a new movement of criticism of the deafening fallacies of everyday imagery. Bred within the dissatisfaction with the supremacy of advertising, the adbusting reignites the ethical and ideological debate towards the persuasive power of images. To broaden the knowledge about this peculiar manifestation, we analyze its origins, graphic resources and discuss relevant issues between commercial Design and social responsibility particularly because of its intrinsic linked roots with the emergence of adbusting. Through the use of Semiotics and Graphic Design Rhetoric, we aim to deepen the understanding of these signs and its persuasive tools as well as assessing how the public reconstructs these messages.

This research aims to apply procedural techniques, similar to those employed in node-based modeling or compositing software packages, to the motion design workflow in Adobe After Effects. The purpose is to increase efficiency in the motion design process between pre-production and production stages. Systems Theory is referenced as a basis for breaking down problems in terms of inputs and outputs. All of this takes place within the context of a larger motion design project.

Several factors compel graphic design companies to improve efficiency and competitiveness in their production lines. However, these companies are not prepared to take on this challenge, as they report delays in 20% of their deliveries, caused by high setup times, low machine availability, and poor work scheduling. In this context, this study proposes a new production management model fed by the interaction of lean manufacturing tools and the Johnson scheduling method. This model has been validated by direct application at the SISSA. The results obtained were the reduction of the setup time to 15 minutes, increased machine availability up to 24%, and an efficient scheduling of its tasks. All of these reduced the percentage of delivery delays from 20% to 6%.

With a background in ceramics and graphic designI have developed my thoughts about craft as a combination of verbal and nonverbal communication, but in textiles. With the written word as one of my main materials this project looks into class and material hierarchies filtered through autofictivestories from my life. This paper explores themes that impact my decisions in the making process, choosing materials, motifs, texts and words, politics and poetry. It deals with all the information I push into patchworking, shirring, tufting and sculpting textiles, with the goal to paint a picture of an often unwanted section of society. To discuss this I have chosen references dealing with sloppy craft, text based art, graffiti and craft traditions, in a mix with news articles and economy. Through all parts of the project I am on balancing line between chaos and perfection, truth and fiction.

A logo is a vital part of any company’s visual identity. The following report exploreshow logo design got affected by the recent age of digitalization. The report helpsoutline essential parts of successful logo design for current and future mediums. Sincecompanies want to hire designers or agencies who work based on research andsuccessful methods, this study helps create a generalization of good logo design that iseasy to implement. Our research confirms the notion that design is a science and not an art, since logosare strong when they fulfill their intended purpose and follow specific guidelines.With the help of gathering both quantitative and qualitative data, we found out that theprimary change of logo design through digitalization was done because of the mediumof which the logos lived. The specific elements that changed were that logos nowfocus more on logo marks and have solid and memorable colours. Further, we sawthat logos had to be distinct and unique to work in the overly saturated digital market.At the same time, logos had to be responsive and have the ability to be showcased in asimple way for it to be ready for any medium it could be thrown against. By analyzing some of the most successful logos of all time such as Apple, Adidas,and Nike this report gets an understanding of the part their logo had in making theirbrands successful. Which is also complemented by insightful interviews with industryprofessional designers who helped develop logos and brands for companies such asBurger King, Netflix, and Audi. All this together helped outline a valid understandingof what makes a good logo for the digital age.