A economia brasileira passa, no período de 2000 até meados de 2008, por uma fase de relativa estabilidade. Tal situação permitiu às empresas elaborar estratégias de médio prazo e a implementá-las, muitas vezes de maneira bem sucedida. Observa-se assim, a valorização de algumas empresas brasileiras, considerando-se não só os seus ativos físicos, mas também as suas marcas, que passaram a constituir ativos que não deviam ser desprezados. Revisões dos Sistemas de Identidade Visual têm acontecido com maior freqüência, com a atualização de Identidades Visuais defasadas e, em alguns casos, com a mudança do próprio nome da empresa. Pretende-se, neste trabalho, analisar a Identidade Visual Corporativa resultante desses processos de revisão segundo a metodologia de Norberto Chaves, e seus catorze parâmetros de alto desempenho de símbolos e logotipos. O universo de pesquisa é formado pelas dez marcas brasileiras mais valorizadas, segundo as avaliações feitas no Brasil pela consultoria inglesa Interbrand, no ano de 2007. / The Brazilian economy at 2000 decade goes through a stable period of time, between 2000 and 2008. This situation has allowed corporations to elaborate some middle term and long term strategies, and to put them into practice, many times in a successful way. As a result, there was the corporation´s value increment, not only of physical resources, but also of brand value. The brand became a resource not to be despised. Revisions on Visual Identity Systems have happened more frequently, with renew of old Visual Identities and, in some cases, with the change of the corporation´s name. In this work is intended to analyze the Visual Identify after the revision process, according to Norberto Chaves methodology and his fourteen parameters of high performance for symbols and logotypes. The research is based on the ten most valuable Brazilian brands, according to Interbrand´s 2007 evaluation.

Esta dissertação é uma reflexão crítica a respeito da formação e do desenvolvimento profissional da autora, a designer gráfica Ruth Klotzel, arquiteta formada pela FAUUSP em 1982. Trata de recuperar e apresentar seu percurso intelectual/profissional desde o contexto familiar, social e político de sua formação e expõe e comenta alguns de seus projetos gráficos e de comunicação visual. Contém também um relato sobre a formação da ADG (Associação dos Designers Gráficos), da qual foi uma das fundadoras e diretora, e uma compilação de eventos ligados ao Icograda (International Council of Graphic Design Associations), do qual é vice-presidente nas gestões 2003-2005 e 2005-2007. / This dissertation consists of critical reflection on the professional training and development of its author, Ruth Klotzel, graphic designer and BS in Architecture (1982) from the School of Architecture and Urbanism of the University of São Paulo-FAUUSP. The purpose is to recall and disclose the family, social and political context of her chosen intellectual/professional course, and to show and comment on some of her graphics and visual communication projects. The dissertation also includes the history of the Association of Graphic Designers-ADG of which Ms. Klotzel was a founding member and director, as well as a compilation of events linked to the International Council of Graphic Design Associations-Icograda, to which she was elected vice president for the 2003-2005 and 2005-2007 terms.

Tomando o design gráfico como eixo de observação, foram analisados os caminhos traçados na profissionalização dessa atividade e os fatores que levaram a mensagem a alcançar a forma gráfica atual. Nessa análise, foram consideradas as mudanças decorrentes não só da introdução da tecnologia digital, mas também das transformações de tendências e padrões culturais que determinaram o período estudado. Como ponto de partida foram utilizados os princípios modernistas, sistematizados pela Bauhaus e seqüenciados pelas diretrizes da Escola Suíça, que determinaram o papel do design gráfico como um transmissor neutro e cuja proposta era a claridade, a objetividade e a funcionalidade, por meio de formas universais e livres de valores regionais. O objetivo central foi analisar a perda da supremacia desses valores, acompanhada pela introdução da tecnologia digital, com novos equipamentos oferecendo novas ferramentas, possibilitando novos enfoques para a idealização dos projetos. / Taking graphic design as an observation axis, the course followed in the professionalization of this activity and the factors that led the message to take its current graphical form were analyzed. In this investigation, not only the changes brought about by the introduction of digital technology were considered, but also the transformation of cultural trends and patterns which determined the period studied. Modernist principles were used as a starting point, as systemized by Bauhaus and arranged by the guidelines established by the Swiss School, which determined the role of the graphic design as a neutral transmitter and whose proposal was clarity, objectivity and functionality, through universal forms and freed of regional values. The main objective was to analyze the loss of supremacy of these values, accompanied by the introduction of the digital technology, with new equipments offering new tools, which enabled new approaches in the conceptualization of projects.

This thesis is focused on American gay male comics and queer alternative comics. I argue that the field of gay male comics production is dominated by two key genres: gay porno comics and gay ghetto comics. The conventions and characteristics of these genres help to construct and reinforce a dominant gay male habitus that is both sexual and social. Drawing on interviews as well as close readings of a number of case studies, I discuss the ways in which alternative queer cartoonists respond to the conventions of these genres, and create alternative representations of gay identity, community, and sex. I argue ultimately that the field of gay male comics production is not entirely homogenous, and that the queer male alternative comics that appear from roughly 1990 onwards are distinctive. The gay male comics of the First Wave (from the 1970s to 1990) are concerned with constructing and consolidating a sense of gay identity and community as relatively unified and stable. While sometimes critical of gay culture, as a whole they ultimately affirm the ideal of a unified gay community. In contrast, the queer male alternative comics that emerged as part of the Second Wave (starting around 1990) are far more concerned with questioning the normative, dominant values of mainstream gay culture, and challenging the identities, tastes and practices associated with the dominant gay habitus. Nevertheless because the gay ghetto and gay porno genres have been so dominant, queer alternative cartoonists position themselves in various different relationships to one or other genre. While some do abandon the genre conventions of gay porno and gay ghetto comics, more often queer alternative cartoonists take up some of these genre conventions and adapt, challenge, or subvert them in subtle ways.

The central original contribution to knowledge proposed by this thesis is the setting forth of a conceptualisation of ethical theory specifically in relation to design, with a focus on visual communication design. Building on earlier work by design theorist Clive Dilnot in the area of design ethics and on philosopher Giorgio Agamben’s formulation of the philosophical concept of potentiality, a way of thinking about the relationship between design and ethics is proposed which concludes that design is in fact always inherently ethical. However, this conception of ethical design purposefully leaves questions of the qualification of good and bad unresolved, stating only that the ethical is the prerequisite condition in which both good and bad become possibilities. Design’s significantly unethical capability to suppress and anaesthetise individuals’ ethical experience is highlighted through a proposal of a process of an/aesth/ethics. Observation of the relationship between design and ethics in the real world through a series of interviews demonstrates something of the complexity of design’s relationship with ethics and the diverse range of positions, beliefs, attitudes and paradoxes abounding within the design profession when it comes to addressing the question of “good” design practice. Six “sites” of ethics within contemporary design discourse are introduced and discussed. The ethicality of design practices in relation to these sites are then analysed through the lens of the proposed ethical framework: identifying strengths, weaknesses and potentials within these observed strategies. The way of thinking about ethical design proposed here demonstrates potential in contributing to designers’ ability to critically consider the ethicality of their own practices. From this foundation they may be better equipped to begin addressing the question of the qualification of the “goodness” of design. In conclusion, proposals are made for how this framework could be practically developed and used to support and encourage ethical design in the real world.

El objetivo de esta investigación fue determinar cómo la anomalía perceptiva del color reconfigura la jerarquía visual. Por ello, la hipótesis que se planteó fue que utilizar el contraste en otros elementos gráficos, además del color, permitirá que la gráfica sea mejor percibida por personas con discromatopsia. La metodología utilizada fue, primero el cuestionario para obtener el porcentaje de medios más consumido por la muestra. Segundo, se adaptó el Checklist Sirius según los criterios que cumplían con los fundamentos de diseño de Wong. De esta forma, se recolectaron datos sobre los elementos de diseño que permiten que las personas con discromatopsia perciban con mayor efectividad el producto visual. Los resultados reflejaron que las personas con discromatopsia no presentan diferencias de percepción en cuanto al logotipo de la página web analizada y la compresibilidad de las fotografías. Sin embargo, presentan diferencias entre 16,7% y 33,3% en cuanto a la legibilidad del texto, las zonas en blanco, el uso correcto del espacio visual, los íconos, las secciones de la página, la cantidad de contenido informativo y texturas. En conclusión, se pudo confirmar que existen otros elementos visuales, además del color, que las personas con discromatopsia o tricromatopsia rojo - verde toman en cuenta para interpretar la información de la página web de El Comercio. Tanto la sobrecarga informativa y una interfaz limpia sin ruido visual, son relevantes para que la gráfica sea mejor percibida por personas con discromatopsia en comparación con personas sin anomalías perceptivas del color. / The objective of this investigation was to determine how the perceptual anomaly of color reconfigures the visual hierarchy. Therefore, the hypothesis that was raised was that using contrast in other graphic elements, in addition to color, will allow the graphic to be better perceived by people with dyschromatopsia. The methodology used was, first the questionnaire to obtain the percentage of the media most consumed by the sample. Second, the Sirius Checklist was adapted according to the criteria that met Wong’s design fundamentals. In this way, data was collected on the design elements that allow people with dyschromatopsia to perceive the visual product more effectively. The results showed that people with dyschromatopsia do not present differences in perception regarding the logo of the analysed website and the compressibility of the photographs. However, they show differences between 16,7% and 33,3% in terms of the readability of the text, the blank areas, the correct use of visual space, the icons, the sections of the page, the amount of informative content and textures. In conclusion, it was possible to confirm that there are other visual elements, in addition to color, that people with dyschromatopsia take into account to interpret the information on the website elcomerio.pe. Both, the information overload and a clean interface without visual noise are relevant elements that contribute to make the graphic better perceived by people with dyschromatopsia compared to people without perceptual color abnormalities. / Trabajo de investigación

This dissertation addresses the teaching of typography and book design in South Africa and how the literature relating to its education has changed during the course of the twentieth century. Several scholarly and educational book titles are compared to one another based on their approach to the subject and this is compared to the historical development of typographic technologies as they were developed in Europe. Based on the theoretical pool of the assessed books, a list of theoretical topics was drawn up and used to survey the current teaching intent of graphic design study programmes at South African tertiary education institutions. It was found that in spite of a less direct technical focus in the teaching and learning materials, training institutions within departments and faculties of arts have developed their graphic design programmes with the intent of developing students who are technologically proficient, readily employable, artistically fluent, and aware of industrial and historical conventions in their fields. However, they do not necessarily teach historical book design conventions, focussing rather on the skills and software required for contemporary design practice. / Dissertation(MIS)--University of Pretoria, 2016. / Information Science / MIS / Unrestricted

Denna uppsats syftar till att utforska äldres relation till strömningstjänster och designens inverkan på deras användande. Mot en bakgrund av nya lagar gällande offentlig tillgänglighetsanpassning intresserar sig uppsatsen för hur tillgänglighetsanpassningen ser ut i strömningstjänster. Ur ett tillgänglighetsperspektiv undersöks äldres attityder till och problem med strömningstjänster för att för att kunna ge förslag på hur tillgänglighetsarbetet kan förändras eller förbättras. Genom intervjuer framkommer det att en stor del av den problematiken som de äldre upplever inte beror strikt på den grafiska designen, utan problematiken är bredare och berör saker som språkanvändning i tjänsterna, krångliga supportsamtal och en rädsla att göra fel. Som förslag på att åtgärda problemen efterlyses en breddad designroll som utgår från en helhet baserad på sambanden mellan visuella och icke-visuella komponenter för att på så vis verka för att göra digitala tjänster mer tillgängliga för äldre människor i samhället.

This paper seeks to answer the following questions in respect to the pedagogy of an experimental digital media university course: What are digital magazines? How do they involve a new design workflow? Are there certain industry trends in digital magazine production? How can this new technology be integrated into a class project?

När en designer tar fram en kampanj finns en underförstådd önskan att mottagaren kommer förändra sina åsikter eller beteenden när hen ser materialet. Men om vi ska använda oss av påverkansstrategier som metod, måste vi undersöka potentiella risker och om det är alls är möjligt att styra mottagare på ett ansvarsfullt sätt. Ett område där det är särskilt intressant att diskutera detta är design kring miljöfrågor. I en fallstudie av en kampanj från Naturskyddsföreningen om bidöden undersöker jag hur design använts för att förmedla insektsdöden som problem och för att uppmuntra till handling, med utgångspunkt i en beteendevetenskaplig teori kallad ”nudge theory”. Jag diskuterar även hur teorins upphovsmän Thaler & Sunstein (2008) applicerar nudge theory på klimatfrågor och granskar kritiskt anammandet av teorin som en del av designprocesser, med anledning av den inneboende risken för paternalism i Thaler & Sunsteins ramverk av påverkansstrategier. Resultatet av analysen är att Thaler & Sunsteins teori om påverkansstrategier innehåller vissa aspekter som kan vara användbara i syfte att uppmuntra miljövänligt beteende, men att teorins liberalistiska teoribas innebär begränsningar som förminskar dess förmåga att låta människors sociala natur inspirera samarbete. De största risker jag identifierat med användandet av påverkansstrategier är att de stjäl vår redan knappa uppmärksamhet, de kan klassificeras som starkare än bara mjuk övertalning och framförallt så finns inte demokratiskt lika förutsättningar för alla aktörer i samhället att producera påverkansstrategier.