A escolha do objecto central desta dissertação de doutoramento recaiu sobre o estudo das empresas familiares dos Álvares Ribeiro (designadas aqui como OAR), naturais de Vizela e Porto, onde também se fixaram, com significativo percurso industrial tipográfico e papeleiro, durante o decurso de três séculos (1760-1935). A "Oficina Alvares Ribeiro - uma família de impressores, editores, livreiros e papeleiros, do Porto e de Vizela (Portugal), do século XVIII ao XX", percorreu três períodos políticos marcantes, desde a época Josefina (ou Pombalina) até ao salazarismo, atravessando as últimas monarquias, passando pela Primeira República (1911) e terminando em pleno Estado Novo (1926), sempre salpicados por momentos conturbados como o terramoto de 1755, as Invasões Napoleónicas de 1807-10 e as sucessivas guerras civis, desde o Vintismo (1820-23) à Regeneração (1852-68). O plano de estudo que desenhamos centra-se num esquema tripartido que aborda: nos tomos um e dois, a introdução, a visão histórica e global da actividade empresarial da OAR (em paralelo com outros acontecimentos nacionais e estrangeiros de maior relevo), os instrumentos metodológicos utilizados e o estudo exaustivo da actividade do fundador da OAR António Álvares Ribeiro Guimarães (1731-74); no tomo três, dois estudos extra-tema mas complementares desta tese: o primeiro impressor português datado (Porto, 1497) e a primeira fábrica de gravação e fundição de caracteres em Portugal (Lisboa, 1730/2); nos tomos quatro e cinco, as conclusões, as fontes e a bibliografia, um glossário e o índice de autores nas obras impressas pela OAR. Esta tese é o primeiro estudo intenso de uma estrutura familiar da indústria tipográfica e papeleira em Portugal entre os séculos XVIII e XX, resultando em quatro gerações durante 175 anos de actividade ininterrupta ao longo de três séculos, 98 anos de actividade de impressão, 146 anos de actividade papeleira das três fábricas de papel e mais de uma dezena de instalações diferentes em duas cidades. PALAVRAS-CHAVE: tipografia, artes gráficas, indústria papeleira, impressão, Oficina Alvares Ribeiro / The central aim of this doctoral dissertation is to study the family businesses of the Alvares Ribeiro family (referred to here as OAR), originating from Vizela and Porto, where they also settled, with an important typographic and papermaking industrial background, over the course of three centuries (1760-1935). "Oficina Alvares Ribeiro - a family firm of printers, publishers, booksellers and papermakers from Porto and Vizela (Portugal), from the 18th to 20th centuries", existed through three remarkable political periods, from the Josephine (or Pombaline) era to Salazarism, through the final monarchies and the First Republic (1911), and ending in the Estado Novo (1926), sprinkled as they were with significant events such as the earthquake of 1755, the Napoleonic Invasions of 1807-10 and the successive civil wars, from Vintism (1820-23) to the period of the Regeneration of the Monarchy (1852-68). The study plan that we have drawn up is centred on a tripartite scheme that covers: in volumes one and two, an introduction, the historical and global vision of the business activity of the OAR (in parallel with other national and foreign events of great significance), the methodological instruments used and an exhaustive study of the life and work of the founder of the OAR, António Álvares Ribeiro Guimarães (1731-74); in volume three, two extra-thematic studies but complementary to this thesis: the first dated Portuguese printer (Oporto, 1497) and the first publisher and character foundry in Portugal (Lisbon, 1730/2); in volumes four and five, our conclusions, sources and bibliography, a glossary and the index of authors in the works printed by the OAR. This thesis is the first intensive study of a Portuguese dynasty of printers and papermakers between the 18th and 20th centuries, covering four generations over 175 years of uninterrupted activity during three centuries, 98 years of printing activity, 146 years of papermaking from three paper mills and more than a dozen different facilities in two cities. KEY WORDS: typography, graphic arts, paper industry, printing, Oficina Alvares Ribeiro

No description available.

Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references (leaves 33-40).

The uses of computer technology in the fields of art and graphic design in Thailand were investigated for the purpose of identifying levels of current computer use from 280 responses to a specifically designed questionnaire among: 1) full-time graphic design educators, 2) art and design students, and 3) graphic design directors in professional business positions. The study instrument consisted of a questionnaire developed by the researcher, reviewed by a panel of seven experts selected by the Department of Creative Arts, Chula-longkorn University. The panel verified content-related evidence to ensure the validity of the instrument. Appropriate statistical procedures were implemented to develop responses to questions of interest. Analysis of the data showed that a majority of educators, students, and design professionals supported the use of computer in their professions and/or coursework, and that majorities of the same groups made regular use of computers. Subject to differences in rank ordering of computer usage among population groups, majorities from each group agreed that publications and graphics constituted the area of greatest use. A majority of the population agreed that computers helped to improve efficiency within the studio environment, and there were only slight differences among the three groups in generalized support of the use of computers within art and design curricula. All groups agreed that educational emphasis should be placed at the level of the baccalaureate degree, subject to the possible integration of computer training at all educational levels. Students reflected the highest percentage of use frequency, followed in order by professionals and educators. Each group reflected its own specific concerns in perceptions of major barriers to the use of computers in graphic design fields: Educators noted the lack of budgetary resources to install and maintain computers; students noted the lack of computer availability for hands-on experience; and design professionals perceived a lack of opportunity to attend training courses. Overall, the results of this study indicated that significant differences existed between groups representing academic fields (i.e., educators and students) and graphic design professionals for all criteria measured. / Graduation date: 1994

Dissertation submitted in partial fulfilment of the academic requirements for the Master of Technology Degree: Graphic Design, Durban University of Technology, 2011. / In this dissertation I examine of the role of graphic design in the struggle for social justice in South Africa - with specific reference to the concept of human rights. I am motivated by an overwhelming awareness that the Bill of Rights in post-apartheid South Africa exists in striking contrast to the daily struggles for human dignity. In addressing this contradiction I present a historical examination that focuses on the visual impact of the creative combination of images and text to effect socioeconomic and political change. Drawing from Steve Biko’s philosophy of psychological liberation and Paulo Freire’s educational philosophy for critical thinking, I distinguish between propaganda and education. I take the stand that people are not really free if they blindly accept the myths of the established state order and I explore the various ways in which society is misguided by these myths. I argue that unlike graphic design that maintains the status quo and represents the propaganda of the established order, ‘graphic design for social justice’ represents the voice of people’s power against state power. Through this study and practice I conclude that the role of graphic design for social justice in South Africa is to uncover the myths of state power by presenting scenarios that encourage critical thinking, dialogue and open debate about power and the abuse of power in the continued struggle for human dignity. It is intended that this body of work, and the exhibition that results from it, contributes in part to the writing and documentation of a history of South African socio-political graphics. / National Research Foundation

published_or_final_version / Business Administration / Master / Master of Business Administration

<p>This doctoral thesis discusses the competence structures and the development of human capital in the graphic arts and media sector. The study has focused on exploring the new media landscape and in particular the structural changes that influence the sector, the print-versuselectronic- media debate and the future of print media. The influence of new technologies and management concepts on the graphic arts and media sector has also been investigated, as has the role and the importance of people in new societal and industrial settings as well as new ways of managing and developing people in changing media environments. </p><p>The primary research objective was to identify the competence requirements and characteristics for existing and potential employees in the graphic arts and media sector and, in particular, the areas of digital printing and cross-media publishing. The second objective was to elucidate the various actions and strategies established and applied for the professional development of people in the graphic arts and media sector, such as further training, recruitment policies and the evaluation and certification of competence. The third objective of the study was to suggest the formation of a strategy for the professional development of people in the graphic arts and media sector – namely the creation of a human capital development strategy. An important issue was to identify the various components (or substrategies) of the strategy and determine if it was possible to integrate them under a common platform. </p><p>The work has been based on literature studies, industry reports and observations, market analyses and forecasts, and empirical studies. Participatory research methods have also been used. In addition, case-study research has been performed at the company and sector levels. Human resource management and development concepts have been surveyed to determine whether they are efficient for the professional development of people in the entire spectrum of an industry sector. </p><p>The graphic arts and media sector – including print media – will remain active for the foreseeable future; however, the results presented here show that the sector has been significantly influenced by structural changes that have taken place over the last decade, affecting organizations, companies and people involved in the sector, and this process of change will continue. </p><p>The study shows that there is indeed a need for new competence in people employed in or to be recruited to the graphic arts and media sector. The initial identification and description of the competences for the new structure of the graphic arts and media industry is proposed. Various actions for the development of people in the sector, mainly regarding education, further and continuous learning, and recruitment, are also identified. However, these activities have been established mainly at the national level by various organizations (educational institutes, industrial partners and the governmental/European Union authorities). </p><p>Finally, the principal characteristics of a human capital development strategy are described, and components (or substrategies) that form a strategy that could be introduced for the graphic arts and media sector in Europe are proposed. </p><p><b>Keywords: </b>Graphic arts and media sector, digital printing, cross-media publishing, human capital, intellectual capital, human resource management and development, human capital development strategy.</p>

No description available.

Thesis (M.Tech. - Graphic Design, Dept. of Visual Arts and Design, Faculty of Human Sciences) -- Vaal University of Technology / An exploratory study was undertaken at three campuses of the Vaal University of Technology in response to weak examination results in one of the subjects of the graphic design curriculum. The aim of the study was to investigate visual learning strategies as used in conjunction with co-operative learning approaches in a higher education setting and to asses the appropriateness of these learning approaches in the discipline of graphic design at first-year level. The research questions that guided the study focused on how first-year graphic design learners experience (a) visual learning strategies, (b) a cooperative learning environment, as well as (c) the combination of these. The literature review component of the study covered (1) the fundamentals of visual learning, including the concepts of visual literacy, visual semiotics and visual culture; (2) graphic design education, especially in a South African context; and (3) principles of co~operative learning, including Avenant's requirements for successful group work. In the field work component of the study, multiple-choice questionnaires, open-ended questionnaires and focus group interviews were used as the main data collection methods. The results of the study did not indicate that first-year learners enrolled in the discipline of graphic design are likely to benefit from a combination of visual learning and co-operative learning strategies. Therefore, the implementation of a combination of the above-mentioned teaching strategies is not recommended in this setting.

Thesis (MTech (Graphic Design))--Cape Peninsula University of Technology, 2018. / This research is an investigation into how Graphic Design, a visual communication subject is taught and learnt at Cape Peninsula University of Technology in light of the dynamics that cultural semiotics present. There is a need to equip students with the cultural awareness to design communication that is sensitive to the varying needs of their consuming audiences. By its very nature, visual communication is vulnerable to an unintended array of misinterpretations because of the audiences’ differing semiotic backgrounds. The pedagogic duty of academy is to equip communication students in this case Graphic Design students with adequate tools to facilitate the understanding of their audiences, the communicative purpose of their designs is compromised. Vygotsky’s (1978) learning theory is therefore applied to examine the role of culture in the teaching and learning of culturally diverse students. Concepts from JoAnn Phillion’s (2002) Narrative Multiculturalism are also used to understand how the narratives collected from the respondent students, lecturers and an industry expert in this study offered guidelines for the effective teaching of Graphic Design. To investigate the teaching and learning of Graphic Design holistically the research employed a mini-ethnographic case study method. Data for this research were obtained through participant observations, semi-structured informal interviews of participants narratives and document analysis. The findings point to a lack of a cohesive and coordinated approach to teaching and learning, which in turn reflects a lack of sensitivity to cultural diversity in the Graphic Design department at the Cape Peninsula University of Technology. This is evidenced in the unreformed curriculum and a culturally unbalanced staff complement. Industry’s lethargic participation also seems to have done nothing to ensure the standardisation of the curriculum to align with industry demands nor guide the career paths of students. As a result, the gap in these areas may leave some historically vulnerable students feeling excluded and despondent about both their academic and career prospects.