This research addresses the effect of pedagogical ways-of-knowing in higher education design programmes such as Graphic Design, Interior Design, Fashion, and Industrial Design. One problematic aspect of design studio pedagogy is communication between teachers and students about the aesthetic visual meaning of the students’ designed objects. This problematic issue involves ambiguous and divergent ways-of-knowing the design meaning of these objects. The research focus is on the design teacher role in design studio interactions, and regards pedagogical ways-of-knowing as the ways in which teachers expect students to know visual design meaning. This pedagogical issue is complicated by the fact that there is no agreed-upon corpus of domain knowledge in design, so visual meaning depends greatly on the social knowledge retained by students and teachers. The thesis pursues an explanation of pedagogical ways-of-knowing that is approached through the philosophy of critical realism. How it is that particular events and experiences come to occur in a particular way is the general focus of critical realist philosophy. A critical realist approach to explanation is the use of abductive inference, or inference as to how it is that puzzling empirical circumstances emerge. An abductive strategy aims to explain how such circumstances emerge by considering them in a new light. This is done in this study by applying Luhmann’s theory of the emergence of cognition in communication to teacher ways-of-knowing in the design studio. Through the substantive use of Luhmann’s theory, an abductive conjecture of pedagogical ways-of-knowing is mounted. This conjecture is brought to bear on an examination of research data, in order to explain how pedagogical ways of-knowing constrain or enable the emergence of shared visual design meaning in the design studio. The abductive analysis explains three design pedagogical ways-of-knowing: design inquiry, design representation and design intent. These operate as macro relational mechanisms that either enable or constrain the emergence of shared visual design meaning in the design studio. The mechanism of relation is between design inquiry, design representation and design intent as historical knowing structures, and ways-of-knowing in respect of each of these knowing structures. For example, design inquiry as an historical knowing structure has over time moved from ways-of-knowing such as rationalistic problem solving to direct social observation and later to interpretive cultural analysis. The antecedence of these ways-of-knowing is important because communication about visual meaning depends upon prior knowledge, and teachers may then reproduce past ways-of-knowing. The many ways-of-knowing that respectively relate to design inquiry, design representation and design intent are shown to be communicatively formed and recursive over time. From a Luhmannian perspective, these ways-of-knowing operate as variational distinctions that indicate or relate to the knowing structures of design inquiry, design representation and design intent. This is the micro-level operation of pedagogical ways-of-knowing as relational mechanisms in design studio communication. Design teachers’ own ways-of-knowing may then embrace implicit way-of-knowing distinctions that indicate the knowledge structures of design inquiry, design representation and design intent. This implicit indication by distinction is the relational mechanism that may bring design teachers’ expectation that this and not that visual design meaning should apply in communication about any student’s designed object. Such an expectation influences communication between teachers and students about the potential future meaning of students’ designs. Consequently, shared visual design meaning may or may not emerge. The research explanation brings the opportunity for design teachers to make explicit the often implicit way-of-knowing distinctions they use, and to relate these distinctions to the knowing structures thus indicated. The study then offers a new perspective on the old design pedagogical problem of design studio conflict over the meaning of students’ designs. Options for applying this research explanation in design studio interactions between students and teachers are therefore suggested.

Children's book publishing was a part of the state-controlled system after 1945 and several movements can be recognised within it. The development and illustration requirements, changing during the 1950s and 1960s, can be mostly inferred from contemporary literature by writers Stehlíková and Holešovský, the Zlatý máj magazine or submissions to the 1972 Brno symposium exploring the relationship between literary text and its visual art interpretation. After outlining the principal relationships, this work focuses on a more detailed exploration of the illustrations by Mirko Hanák, whose work originated during the 1950s and 1960s before being terminated by a premature death in 1971. Hanák freed himself of the compulsory realism during the 1950s and chose a path towards symbolism, which helped him achieve a respected creative status in the 1960s. Hanák's talents chiefly manifested themselves in his wildlife illustrations for adventure books, where he employed the watercolour technique. He took inspiration from Chinese ink painting, with which he became familiarised thanks to the many exhibitions taking place in the context of the contemporary cultural exchange between Czechoslovakia and the People's Republic of China. Both working with the originals of Hanák's illustrations and a comparison between individual...

This study attempts to gain an understanding of the responsibilities and place of the designer within his/her social, political and environmental context, a topic which is continuously being scrutinised. Graphic designers, as practitioners and researchers, have shifted towards principles found within Human-Centred Design (HCD) and problem-solving processes, primarily concerned with the community’s need and the voice of the community members within the problem and thus integrating the user into the design practice and problem-solving process. This practice-based research project reflects upon the integration of human-centred graphic design processes, analysing the brand and wayfinding design currently incorporated in the Sasolburg Public Library (SPL) through the implementation of HCD thinking and problem-solving processes, Participatory Action Research (PAR) and the HCD IDEO toolkit. The researcher critically and experientially questions and reflects upon HCD thinking: its problem-solving strategies, strengths and the ultimate result of its integration into the project, as she aimed to codesign a functional brand identity and way-finding system that resonates with the identified community need as well as the SPL’s current space and place ‘description’, essentially attempting to create a public library that is human-centred at heart. The integrated co-designed problem-solving processes, guided by the HCD IDEO toolkit, were applied within a focus group setting, and comprised out of seven focus group sessions referred to as HCD team meetings. The focus group sessions consisted out of six HCD team meeting and one member checking contact session, supported by various research phases. The team meetings all considered theoretical constructs within multiple HCD research approaches, including the HCD analysis model, PAR research cycles and the action research model, constantly re-considering existing assumptions and structures within the unique context of a public library setting, but specifically the SPL. Each focus group team meeting, and its subsequent research tools, were tailor-made for the SPL context, considering principles of the co-design process along with the expertise and perceived knowledge structures of the HCD team consisting of the designer (as specialist within practice), the researcher (as specialist academic) and the librarians (as specialists within the SPL and the identified problem). Arising from this complex construction of tools, and subsequent data collected, various findings were made identifying the value and strengths as well as the feasibility of HCD thinking processes and their integration within a ‘real life context’. Summarised findings include: the implementation of co-design processes, PAR repetitive cycles, and the creation of design deliverables answering to identified needs; tensions identified within the co-design process, sparking the beginning of what seems to be a continuous and endless ‘power/authority/expertise struggle’ throughout the problem-solving process; an aesthetic adjustment (with specific reference to graphic design executions identified within traditional design practices) as a result of the co-design process and lastly, a break in HCD co-design thinking, which argues for implementing democratic thinking practice and processes within the production and design application process. Considering the findings on the HCD research process within the context of this research, suggestions towards possible design solutions and future potential applications (within a theoretical context) are made, allowing the research in its specific, public library context, to contribute to HCD theoretical thinking processes and their integration within graphic design research and practice.

The goal of this dissertation is to document and present exhibition concepts of new or re- established galleries and exhibition halls united in the Union of Czechoslovak Visual Artists in Prague in 1964-1969. A partial goal is to find and clarify principal legal, political and cultural events in the background of which such exhibition and artistic life unfolded. The thesis covers the period between two conventions of the Union of Czechoslovak Visual Artists, i.e. the period from December 1964 until the end of 1969 with certain intermissions. In terms of the selection, it deals with "smaller" galleries that influenced the most the level of presentation of visual arts at exhibitions in Prague in the period under consideration. For this reason, attention is paid to the Václav Špála Gallery, Nová síň Gallery, Galerie Na Karlově náměstí, and the Vincenc Kramář Gallery. The basic topics of the dissertation are concentrated in two spheres that pervade one another. The first sphere is dedicated to fundamental social and political prerequisites for the establishment of "smaller" galleries as well as, in brief, the history of the formation of the Union of Czechoslovak Visual Artists. In particular, it deals with the then applicable legislation concerning the given field of cultural life of society. It takes...

Este trabalho de pesquisa estuda um autor - Renato Canini - que construiu uma trajetória peculiar ao desenvolver uma narrativa de histórias em quadrinhos com um traço bastante pessoal apesar de inserida nas de estruturas de produção massivas. Envolve a articulação da CETPA Cooperativa Editora de Trabalhos de Porto Alegre - que pretendia publicar histórias em quadrinhos brasileiras para fazer frente à avassaladora presença de material importado , estrutura onde Canini realizou com as tiras de Zé Candango seus primeiros ensaios de uma linguagem brasileira de quadrinhos. E porque parte dessas tiras foi publicada no Jornal do Brasil, sua atuação pode ser vista dentro da construção de um sistema massivo de produção e distribuição no país. Este trabalho vai além ao abordar a seminal passagem deste autor pelas publicações Disney por meio da Editora Abril - desenhando as aventuras do personagem Zé Carioca. Deste período resultará uma obra que encontra grande significado por conseguir superar as contradições e os limites de uma estrutura caracterizada por uma rígida divisão de trabalho, dilatando os limites da questão autoral dentro da grande indústria e trazendo amplos questionamentos quanto aos elementos formadores de uma pretensa identidade nacional. / This research deals with the study of the artist Renato Canini, who managed to build a very peculiar way to develop a narrative of comics with a very personal style, although included in the structures of mass production. This period includes the articulation of CETPA (Cooperative Publishing Works of Porto Alegre), which intended to publish Brazilian comics to face the huge presence of imported material. That was when Canini drew his strips of Zé Candango its first steps of a language of Brazilian comics. And because of part of these strips were published in Jornal do Brasil, this work can be seen within the perspective of building a massive system of production and distribution. This work goes beyond by researching the important work done by Renato Canini at Disney publications - by Editora Abril - drawing the adventures of the character Zé Carioca. Not forgetting a significant formal research developed by him on the pages of the Recreio magazine. This period will result in a workforce that is able to overcome significant contradictions and limits of a structure known by being rigid with the labor division and also by extending the limits of copyright issue within the major industry issues and bringing extensive discussion on the elements of an alleged national identity.

A pesquisa é voltada para o estudo da obra de Saul Steinberg, com enfoque nas contribuições de sua produção para o desenvolvimento do cartum moderno e das artes gráficas. Para tanto, busca sistematizar a vida e obra de Steinberg (1914-1999), com ênfase nas transformações ocorridas em seu trabalho no decorrer de sua carreira, relacionando-as ao conjunto de sua produção, ao contexto histórico e à produção das artes gráficas - cartum, ilustração, desenho gráfico. O trabalho busca desenvolver uma análise do desenho do artista, partindo da hipótese de seu caráter moderno - baseado em síntese e simplicidade. É intenção desta pesquisa, também, contribuir com o mapeamento de parte da história das artes gráficas do Brasil e do mundo, neste caso privilegiando a produção gráfica moderna do século XX. / The research deals with the study of the work of Saul Steinberg, with focus in the contributions of his work to the development of the modern cartoon and graphic arts. It tries to systematize the life and work of Steinberg (1914-1999), with emphasis in the transformations occured in his work, related to his whole production, to the historial context, and to the production of the graphic arts. The research tries to develop an analysis of the Steinberg´s drawing, taking into consideration the hypothesis of its modern particularity - established in synthesis and simplicity. Is an intention of this research to contribute with the mapping of part of the graphic art history of Brazil and the world, focusing in the graphic modern production of the 20th century.

O presente trabalho busca realizar uma investigação acerca das narrativas históricas que o designer gráfico Alexandre Wollner montou sobre o desenvolvimento da própria profissão no Brasil, enfocando as formas pelas quais seu discurso aponta relações entre o design (com maior ênfase do design gráfico) e as artes visuais, o desenvolvimento industrial e noções sobre tecnologia. Primeiramente, a fundamentação teórica buscou diálogos com historiadores do design, com Mikhail Bakhtin, especialmente seus conceitos sobre “ideologia” e “discurso”, e a teoria de autonomia de Campo de Pierre Bordieu aplicada na prática artística. Em seguida, apresenta-se a trajetória de Wollner, relacionando-a com os momentos de desenvolvimento industrial do Brasil e, por fim, abordam-se três de seus textos de caráter histórico, escritos em momentos distintos (1964; 1983; 1998), nos quais o autor analisado buscou apontar as origens, eventos e nomes marcantes da profissão. No decorrer do trabalho, aponta-se a importância do contato de Wollner com as ideologias modernistas europeias de matriz abstrata e racionalistada Hochschule für Gestaltung Ulm (HfG Ulm), escola alemã de design da cidade de Ulm, na década de 1950. Tal discurso modernista entendia a prática do design como um método de caráter científico, diferenciando-se assim de práticas artísticas mais recorrentes em alguns ambientes produtivos. Wollner buscou aplicar esses ideais em sua prática profissional, sendo a formação do escritório paulista forminform, em 1958, uma das primeiras expressões de tal postura, e na sua prática acadêmica, tendo auxiliado na formação da Escola Superior de Desenho Industrial (ESDI), no Rio de Janeiro, em 1963. Tais ideais modernistas condiziam com os momentos de desenvolvimento industrial brasileirodo governo de Juscelino Kubitschek (1956–1961) e do “Milagre Econômico” do governo militar brasileiro (1968–1973). Wollner argumentava acerca da necessidade do desenvolvimento design nacional como um diferencial produtivo e tecnológico que auxiliaria o crescimento da indústria nacional, baseado na concepção no modelo projetual alemão de Ulm. Defende-se que a trajetória profissional e intelectual de Alexandre Wollner, em seus esforços de pensar uma história do design brasileiro através da escolha de pioneiros da profissão, pautou-se num “modelo ideal” de design, deixando de lado experiências modernistas da década de 1950. Tal postura refletiria uma busca pela validação da própria profissão que surgia de forma mais pontual no meio produtivo brasileiro, buscando a criação de um espaço de diferenciação para com práticas anteriormente estabelecidas, geralmente ligadas àquelas de artistas gráficos. / This work aims to investigate the historical narratives in which the graphic designer Alexandre Wollner assembled about the development of its own profession in Brazil, focusing the ways in which his discourse points relations among design (with greater emphasis in graphic design) and visual arts, the industrial development and notions about technology. Firstly, the theoretical setup searched for dialogues with design historians, with Mikhail Bakhtin, specially his concepts about “ideology” and “discourse’, and the theory of Field Autonomy by Pierre Bourdieu applied in the artistic practice. Following, the relation between Wollner’s own journey and the Brazilian industrial development is shown, and, at last, three of his historical texts are studied, which are written in different moments (1964; 1983; 1998), being those in which the analyzed author wished to point out the origens, events and names that are more remarkable. Throughout the work, it is pointed the importance of Wollner’s contact with the modernist european ideologies that share an abstract and rationalist matrix found at Hochschule für Gestaltung Ulm (HfG Ulm), the german design school from the city of Ulm, in the 1950s. Such modernist discourse understood the practice of design as a method with scientific character, being then different of some other more recurring artistic professional practices in some productive sectors. Wollner aimed to apply such ideals in his professional practice, being the foundation of the paulista office forminform, in 1958, one of his first expressions of such posture, and in his academic practice, helping the foundation of the Escola Superior de Desenho Industrial (ESDI), in Rio de Janeiro, in 1963. Such modernist ideals went along with moments of the Brazilian industrial development during the government of Juscelino Kubitschek (1956–1961) and the “Economical Miracle” from the military government (1968–1973). Wollner argued about the need for the development of national design as a technological and productive differential that would help the growth of national industry, based on Ulm’s project model concept. It is defended that Wollner’s professional and intelectual path, in his efforts of thinking a history of Brazilian design through the choice of pioneers in the area, was founded on an “ideal model” of design, leaving aside the modernist experiences from the 1950s. Such posture would indicate a search for validation of his own profession that was beginning to become more evident in Brazilian productive means, aiming the creation of a differential space in comparison with pre-established practices, usually link to graphic artists from the time.

Este trabalho de pesquisa estuda um autor - Renato Canini - que construiu uma trajetória peculiar ao desenvolver uma narrativa de histórias em quadrinhos com um traço bastante pessoal apesar de inserida nas de estruturas de produção massivas. Envolve a articulação da CETPA Cooperativa Editora de Trabalhos de Porto Alegre - que pretendia publicar histórias em quadrinhos brasileiras para fazer frente à avassaladora presença de material importado , estrutura onde Canini realizou com as tiras de Zé Candango seus primeiros ensaios de uma linguagem brasileira de quadrinhos. E porque parte dessas tiras foi publicada no Jornal do Brasil, sua atuação pode ser vista dentro da construção de um sistema massivo de produção e distribuição no país. Este trabalho vai além ao abordar a seminal passagem deste autor pelas publicações Disney por meio da Editora Abril - desenhando as aventuras do personagem Zé Carioca. Deste período resultará uma obra que encontra grande significado por conseguir superar as contradições e os limites de uma estrutura caracterizada por uma rígida divisão de trabalho, dilatando os limites da questão autoral dentro da grande indústria e trazendo amplos questionamentos quanto aos elementos formadores de uma pretensa identidade nacional. / This research deals with the study of the artist Renato Canini, who managed to build a very peculiar way to develop a narrative of comics with a very personal style, although included in the structures of mass production. This period includes the articulation of CETPA (Cooperative Publishing Works of Porto Alegre), which intended to publish Brazilian comics to face the huge presence of imported material. That was when Canini drew his strips of Zé Candango its first steps of a language of Brazilian comics. And because of part of these strips were published in Jornal do Brasil, this work can be seen within the perspective of building a massive system of production and distribution. This work goes beyond by researching the important work done by Renato Canini at Disney publications - by Editora Abril - drawing the adventures of the character Zé Carioca. Not forgetting a significant formal research developed by him on the pages of the Recreio magazine. This period will result in a workforce that is able to overcome significant contradictions and limits of a structure known by being rigid with the labor division and also by extending the limits of copyright issue within the major industry issues and bringing extensive discussion on the elements of an alleged national identity.

A pesquisa é voltada para o estudo da obra de Saul Steinberg, com enfoque nas contribuições de sua produção para o desenvolvimento do cartum moderno e das artes gráficas. Para tanto, busca sistematizar a vida e obra de Steinberg (1914-1999), com ênfase nas transformações ocorridas em seu trabalho no decorrer de sua carreira, relacionando-as ao conjunto de sua produção, ao contexto histórico e à produção das artes gráficas - cartum, ilustração, desenho gráfico. O trabalho busca desenvolver uma análise do desenho do artista, partindo da hipótese de seu caráter moderno - baseado em síntese e simplicidade. É intenção desta pesquisa, também, contribuir com o mapeamento de parte da história das artes gráficas do Brasil e do mundo, neste caso privilegiando a produção gráfica moderna do século XX. / The research deals with the study of the work of Saul Steinberg, with focus in the contributions of his work to the development of the modern cartoon and graphic arts. It tries to systematize the life and work of Steinberg (1914-1999), with emphasis in the transformations occured in his work, related to his whole production, to the historial context, and to the production of the graphic arts. The research tries to develop an analysis of the Steinberg´s drawing, taking into consideration the hypothesis of its modern particularity - established in synthesis and simplicity. Is an intention of this research to contribute with the mapping of part of the graphic art history of Brazil and the world, focusing in the graphic modern production of the 20th century.

The Prague based Haase printing and publishing company played an important role in the development of polygraphy, typography, significantly contributed to the Czech national revival and during its existence collaborated with many artists in some cases of world importance. This PhD thesis tries to bring knowledge to the applied graphic art in the Czech lands in general, but also describes the most important historical events of the Haase company, especially these with influence on its art production. The PhD thesis examines the process of graphic work creation and tries to place selected works in the context of work of individual authors and the fine art in the Central European area in general. It is also focused on the nationality issue and the role it played in the selection of artists with whom the Haase company collaborated.