Cette thèse propose une étude sur la relation entre les arts graphiques et le cinéma à travers une observation analytique du générique de film en tant que fragment cinématographique hybride présentant un entremêlement ou encore une rencontre entre les éléments graphiques et les éléments filmiques. Par cette étude nous interrogeons le générique d’ouverture de film, de l’apparition de la cinématographie aux expériences plus contemporaines, en suivant l’évolution d’une forme à la fois graphique et cinématographique reposant sur une frontière technique constamment mouvante grâce aux multiples innovations technologiques.Dans ce travail, nous nous intéressons aux fonctions, typologies, typographies et mises en scène du générique d’ouverture, ainsi qu'aux différents éléments le composant, qui s’expriment selon des modalités à la fois historiques, techniques et esthétiques. L’esthétique de la typographie et son évolution font l’objet d’une attention particulière.Cette thèse se concentre particulièrement sur Kyle Cooper et plus spécialement sur le générique d’ouverture de Se7en, remarquable par son style de typographie cinétique ainsi que son incroyable tour de force technique et esthétique.Notre objectif est de démontrer, à travers les développements graphiques et filmiques du générique d’ouverture, à quel point les apports de Kyle Cooper pour l’art de sa conception sont fondamentaux et considérables. Cooper a contribué à la renaissance de l’art du générique de film à la suite de Saul Bass, dans les années 1950. / This thesis proposes a study of the relation between graphic art and cinema through ananalytical approach of film opening credits as a hybrid cinematographic fragment with areunion of graphic elements and cinematographic elements. Through this study, we willanalyze opening credits, from the beginning of cinema until contemporary experiences,following the evolution of a from simultaneously/both graphic and film based on a technicalline constantly shifting with innovations.In this work, we are also interested in fonctions, types, typography and staged opening credits,elements which are expressed according to historical, technical and aesthetic modes. Theaesthetics of typography and its evolution are the subject of a particular attention.This thesis focuses specifically on Kyle Cooper and more precisely on the opening credits ofSe7en with its outstanding style of kinetic typography and its incredible aesthetic andtechnical tour de force.Our goal is to prove the significance of Kyle Cooper’s contribution and why his contributionsfor art of the generic design are so fundamental and substantial across graphic developmentsand opening credits. Cooper had an important part in the rebirth of the art of film credits withSaul Bass in the 1950s.

Submitted in fulfillment of the requirements of the Degree of Master of Applied Arts: Graphic Design, Durban University of Technology, 2017. / This study explores connections between masculinity and homophobia in a Faculty of Arts and Design at a South African university. Connections between masculinity and homophobia may have consequences for the visual representation of the male body in graphic design. Literature suggests that gender is socially constructed and performed, and that masculinity and homophobia are connected. As such understanding this connection might assist graphic designers who are often tasked with visually representing gendered bodies. The study uses critical theory as the research orientation for inquiry, which is then related to masculinity studies. Photo elicitation using context-free images of male body language in focus groups is the main data generation strategy. Multimodal Critical Discourse Analysis with particular reference to participants’ personal stake and interest in masculinity are employed as analytical tools. Overall, the research data reveals four discursive ‘positions’ in relation to visual perceptions of body language: human or situational performance of masculinity, socially gendered performance of masculinity, effeminate or ‘gay’ performance of masculinity, and homosexual performance of masculinity. However, in the data these positions overlap and combine when participants manage their stake or interest in masculinity. The thesis of this study is therefore that homophobic visual perceptions of masculinity may permeate gender performance as ‘fault lines’. Although the study finds these homophobic fault lines in visual perceptions of masculinity, there is also evidence of acceptance of non-mainstream forms of masculinity. / M

Dieses Buch erscheint anlässlich der Ausstellung Kurt Dornis - Bilder einer Stadt im Studio des Stadtgeschichtlichen Museums Leipzig 21. September bis 28. November 2010.

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"Explorando o Bazar Tipográfico: A importância dos modelos emergentes de comunicação na criação de uma plataforma de colaboração livre para o design tipográfico" trata de temas como a evolução da Web, a Cibercultura e Modelos de Comunicação, o desenvolvimento de Software Livre e a criação de Projectos Colaborativos sob a realidade electrónica. No âmbito da Comunicação na Cultura Digital, o desenvolvimento de Design Tipográfico foi a aplicação prática escolhida como objecto de análise, tendo por base a ideologia e o modelo de desenvolvimento de Software Livre. Reflecte-se principalmente a mudança de paradigma provocado pelo aparecimento da sociedade de informação desde o desenvolvimento do conceito de Internet. É, acima de tudo, uma análise dos processos de comunicação e colaboração na sociedade digital. Assim, apesar de abordar temas gerais como a Comunicação, ou Cibercultura, foca principalmente propostas colaborativas on-line, a dicotomia da Tecnologia versus Cultura, a Rede e os Modelos de Comunicação e as Plataformas de Colaboração actualmente mais populares. No entanto, sendo uma investigação desenvolvida no âmbito do Mestrado em Arte Multimédia, investiu-se essencialmente no Design Tipográfico. O subtítulo "A importância dos modelos emergentes de comunicação na criação de uma plataforma de colaboração livre para o design tipográfico" representa um desafio de síntese dos assuntos mais importantes da dissertação:<p> * A evolução e o desenvolvimento da Internet, da Web e da Cibercultura como iniciativas livres, de reacção e de contracultura;<p> * O surgimento da sociedade em rede actual, que reflexos existem na história do Ciberespaço como meio de comunicação e como este meio se revela ser o espaço ideal para o desenvolvimento da cultura digital actual;<p> * A influência dos modelos de comunicação dos finais dos anos 1960 no fenómeno de rede actual;<p> * O modelo de gestão adoptado pelo desenvolvimento de Software Open Source e como este influência o quotidiano e a produção criativa;<p> * Os presentes métodos colaborativos de produção e partilha de conhecimento e de produtos intelectuais - motor de impulsão da inteligência colectiva e de uma sociedade mais produtiva, crítica e responsável. <p> <a href="http://www.typeforge.net/cms/">www.typeforge.net/</a> <p> / "Exploring the Type Bazaar: the importance of the emergent models of communication in the creation of a platform of free collaboration for type design" deals with themes as the evolution of the Web, Cyberculture and Communication Models, the Development of Free Software and the creation of Collaborative Projects under the electronic reality. In the scope of the Communication in the Digital Culture, the development of Typographical Design was the practical application chosen as object of analysis, having the ideology and the Open Source Software model of development for its basis. It reflects mainly the change of paradigm provoked by the appearance of the information society since the development of the concept of the Internet. It is, above all, an analysis of the communication processes and its contribution in the digital society. Thus, although it approaches subjects as wide as Communication, or Cyberculture, it focuses mainly on on-line collaborative proposals, the dichotomy of the Technology versus Culture, the Net and Models of Communication and currently popular Platforms of Collaboration. However, being an investigation developed in the scope of the Master in Multimedia Art, the investment was made essentially in Typographical Design. The sub-heading "the importance of the emergent models of communication in the creation of a platform of free collaboration for type design" represents a great synthesis challenge of the most important subjects of the present dissertation:<p> * The evolution and the development of the Internet, the Web and the Cyberculture as free initiatives, as reaction and as Counterculture;<p> * The sprouting of the current net society. What reflections exist in the history of the Cyberspace as the communication media and how does this medium reveals itself to be the ideal space for the development of the current digital culture;<p> * The influence of the late 1960's communication models in the current Web phenomenon;<p> * The management model adopted for the development of Open Source Software and as this inflences everyday life and the creative production;<p> * The current collaboration methods of production and of knowledge sharing of intellectual products - main impulse of the collective intelligence and of a more productive, critical and responsible society. <p> <a href="http://www.typeforge.net/cms/">www.typeforge.net/</a> <p>

The main aim of this thesis is to develop and test industry-specific, applied work procedures and tools for environmental and emerging sustainability work in the graphic arts industry. This includes methods to quantify, follow-up, evaluate, manage, improve and communicate the environmental performance of activities in the graphic arts supply chain and printed products. In order to achieve the aims of the thesis, a selection of work areas were chosen as the basis for developing the industry-specific work procedures and tools. The selected work areas are the following: environmental management (being a part of sustainability management), environmental and sustainability strategies, environmental indicators and design for environment (DfE). The research presented in this thesis was based on survey research methods, case studies and multi-company studies. Within the framework of these methods, quantitative and qualitative techniques for data gathering were used. The companies included in the studies were selected according to their willingness, interest and motivation to participate and develop their environmental or sustainability work. The most significant results of the research presented in this thesis regarding the selected work areas are the following: • An evaluation of early certified environmental management systems (EMSs) in Sweden identified four areas as priorities in making the EMSs more efficient. Two of them, viz. improvement in the follow-up of environmental work, and the linking of EMSs to product design, were developed for the graphic arts industry. The remaining two areas were clarifying the identification process and assessment of environmental aspects, and streamlining and co-ordinating different management systems. • An established and successfully tested working method for formulating and realising corporate sustainability strategies in the graphic arts industry. • Industry-specific environmental indicator models for the graphic arts industry with defined methods for standardised inventorying and calculations. These models have been tested, used and approved of by the industry itself. • Collected and compiled data for the developed environmental indicator models. Data have been collected from quite a large number of companies (10-20 companies for each of the printing techniques covered, i.e. coldset offset, heatset offset and gravure) over a period of several years. • The use of the industry-specific environmental indicator models was developed and illustrated. • A described and recommended work procedure for DfE in graphic arts companies including industry-specific tools for applying DfE to printed products, in the form of a manual and a checklist. The checklist was designed so that it can serve as a simple tool for the environmental assessment of printed products. The tools were tested by graphic arts companies. / <p>QC 20110124</p>

This thesis investigates the ceremonial and artistic strategies of the British monarchy in the years following the Glorious Revolution. By adopting a range of methodologies used in the study of visual culture, the thesis considers royal ceremonies as channels for conveying political messages non-verbally. These could affect attitudes to the monarchy, and inform artistic output. By paying particular attention to the way royal participants performed ceremonially in relation to the various formal and informal architectural settings for the court, the thesis highlights the process of seeing as a communicative act. Being alert to the impact of royal ceremonial and artistic activities on contemporary audiences, the thesis also considers the dissemination of royal imagery in England by commercial means. The thesis surveys paintings, prints and medals produced in England, and places the intended audiences at the centre of the analysis. It also pays keen attention to the impact of war on royal image making, and highlights the political context of continental Europe, especially in relation to William’s role as Stadholder-King but also the exiled Stuart court at St Germain near Paris. The evidence presented here supports a number of conclusions. Firstly, war had a profound impact on all aspects of royal image making. Secondly, royal behaviour and involvement in ceremony were vital elements in the visual presentation of monarchy. Kings and queens were of paramount importance, but their consorts were highly significant. Art was also taken seriously by the monarchy and the Crown tightened controls on royal image making during the period in question. The thesis also concludes that the nationalities of the incumbent monarchs and their consorts, along with their previous experiences and personalities, influenced their individual approach to visual representation. These approaches could shift depending on political circumstances and the personal inclinations of the person concerned.

KOPICOVÁ, Jiřina. Contemporary Printmaking and Art Education. Prague, 2011. 115 p. Master Thesis. Charles University in Prague - Faculty of Educati- on. Head of the Master Thesis Mgr. Linda Arbanová, PhD. This is a theoretical study investigating the present-day free graphic arts (designs). It describes the main trends, materials and techniques used. The text contains an an- notated selection of several Czech and foreign authors, which illustrates the different mainstreams of contemporary graphic arts. The didactic part of this study contains a research on the topic entitled Relation of Ba- sic-School Students to the Graphic Arts and a suggestion of a didactic approach to Art teaching based on the results of the research. The creative part of the study shows my own works-based on the topic: Time of Natu- re-made with the combined technique of digital print and linocut.

A Dissertação de Mestrado Pinturas de paisagem amazônica e a construção de um imaginário da cultura popular trata de documentar e analisar as pinturas populares que representam a floresta amazônica, produzidas nos séculos xx e xxi, utilizadas na comunicação visual e na decoração dos interiores e das fachadas de estabelecimentos comerciais e residenciais, localizados no centro de Manaus, capital do Amazonas. É possível encontrar diversos significados nessas pinturas, que se destacam em meio à poluição visual e à agitação da cidade. Evocando reiteradamente o repertório imagético da Amazônia, misturam a mitologia local com ícones universais das cidades contemporâneas, além de incorporarem elementos da estética brega que impera na região Norte do país. As pinturas de paisagem amazônica - termo utilizado pelos próprios pintores para descrever seu ofício - provocam reflexões sobre a produção atual das artes gráficas populares brasileiras e, mais especificamente, sobre como essa expressão pictórica sobrevive e prolifera em Manaus. / The Masters thesis Amazonic landscape paintings and the construction of an imaginary popular culture, is an attempt to document and analize everyday paintings that represent the Amazon Forest and were produced in the 20th and 21st centuries for visual communication and decoration of interiors and façades of commercial and residential buildings, located in downtown Manaus, capital of Amazonas State, Brazil. It is possible to find various meanings in these paintings that shine amidst the visual polution and chaos of the city. Repeatedly evoking the repertoire of Amazonian imagery, they fuse local mythology with universal icons common to modern cities and tacky elements of the regional esthetic that dominates Northern Brazil. The amazonian landscape paintings - a term used by the painters themselves to describe their trade, how provoke us to reflect on the current production of popular graphic art in Brazil and more specifically, over how this form of pictorial expression survives and proliferates in Manaus.

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.