Thesis (Master of Fine Arts in Integrated Design)--University of Baltimore, 2008. / Includes bibliographical references (leaf 4).

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 99-101).

From music fans finding new songs in a genre, graphic designers brainstorming ways to depict a message, and journalists scrutinizing documents for angles, people often conduct exploratory searches to understand complex topics. In contrast to traditional search, which is done to quickly answer simple questions, exploratory search is an iterative learning process that involves understanding an information space in order to find useful pieces of information. Exploratory search is composed of two, closely-related sub-processes: (1) information foraging, choosing sources and collecting information, and (2) sensemaking, organizing this information into a mental framework. Both of these sub-processes are cognitively taxing and heavily rely on our memory. For information foraging, users need to read long, complex resources and recognize useful pieces of information. For sensemaking, as users encounter more information, it becomes harder to relate new information to their current knowledge. The spreading activation theory of memory purports that the information we encounter materializes in our working memory, which spreads activation into our long-term memory, enabling us to recall related semantic information to make sense of newly found information. From this theory, this thesis introduces three strategies for creating organizations that better stimulate memory: (1) constructing overviews that are association networks that mimic our memory's structure, (2) incorporating our prior knowledge in these overviews, and (3) providing concrete information to help us make sense of abstract ideas. This thesis demonstrates how to employ these strategies through three exploratory search systems across three domains: (A) SymbolFinder helps graphic designers explore visual symbols for abstract concepts, (B) TastePaths helps music fans explore artists within a genre, and (C) AngleKindling supports journalists explore story angles for a press release. Through this body of work, I demonstrate that by designing exploratory search systems to stimulate our memory, we can make acquiring and making sense of knowledge less cognitively demanding.

Orientadores: Edson do Prado Pfutzenreuter, Ann Paula Silva Gouveia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T22:17:18Z (GMT). No. of bitstreams: 1 Naufel_CarinadaRocha_M.pdf: 149350942 bytes, checksum: 0ba5a65c3bf8cc18801f28873aa9bfeb (MD5) Previous issue date: 2012 / Resumo: As capas de livros analisadas nesta pesquisa foram criadas por Marius Lauritzen Bern para a editora Civilização Brasileira na década de 60 no Brasil. Marius Bern foi um designer brasileiro autodidata que iniciou sua carreira através das artes plásticas durante um período em que não havia a formalização do ensino de design no Brasil. Sua parceria com a editora Civilização Brasileira foi estabelecida através do editor Ênio Silveira no ano de 1965, após a saída do designer Eugênio Hirsch. No período de 1965 a 1970, Marius Bern permaneceu como principal designer da editora Civilização Brasileira. A Editora Civilização Brasileira pertencia ao editor Ênio Silveira, intelectual reconhecido no campo cultural brasileiro e importante na resistência contra a ditadura no Brasil. Ênio Silveira foi o grande incentivador das mudanças no design dos livros da editora. Em 1960 houve uma ruptura das convenções gráficas na cultura editorial e, portanto no mercado de livros no Brasil. Circunstâncias específicas relativas ao exercício da atividade no período em questão, como o modo de criação e o processo de produção disponível então, foram abordados de modo a auxiliarem no entendimento do discurso gráfico das capas. Através da análise foi possível identificar algumas soluções visuais recorrentes na produção de capas de Marius Bern, o que permite algumas conclusões sobre sua produção / Abstract: This research focuses on analyzing Marius Lauritzen Bern's book cover production for Civilização Brasileira, during the 1960s. Marius was a self-taught designer who began his career in visual arts, in a time when the teaching of Design had still not been formalized in Brazil. Marius Bern began his partnership with the publishing Civilização Brasileira in 1965, through its visionary publisher Ênio Silveira. He joined them right after designer Eugênio Hirsch had left the company, and from 1965 to 1970 he stood as its chief designer. Ênio - owner of Civilização Brasileira - was considered an important Brazilian intellectual in the national cultural field and also an important figure in the fight against the military dictatorship. He was also the staunchest supporter of the changes adopted by the company in its book designs. The 1960s mark a twist in the graphic conventions adopted by the publishing culture and, therefore, in the Brazilian book market. Specific circumstances related to the practice of the profession, such as the ways in which book covers were created and the production processes that were available at the time, were addressed to ensure a better understanding of the graphic speech of the covers. Through the analysis it was possible to identify some recurrent visual solutions in Marius' book designs, which allow us to draw some conclusions regarding his work / Mestrado / Artes Visuais / Mestra em Artes

Assignment (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2006. / ENGLISH ABSTRACT: In this study, the mental models of the target audience of the FACT web site (official Stellenbosch University HIV/Aids web site) were investigated and compared with the structure of the web site (representing the mental model of the expert). The target audience were divided into six groups representing three different race groups (white, coloured and black) and the two sexes (male and female).

M. Tech. (Department of Visual Arts and Design: Graphic Design, Faculty of Human Sciences), Vaal University of Technology. / The main aim of this study is to determine in what ways my graphic design practice is impacted by my socio-cultural identity. The intention is to explain and theorise the creative dynamics at play in Graphic Design as a discipline, so that I can use this to trace how the culture of graphic design, learned through training, influences the designs that I conceptualise and produce. From this exploration, critical self-analysis strategies and lines of inquiry for graphic designers, are established. To achieve this, triangulated investigations are undertaken in the context of a graphic designer as an idiosyncratic enculturated person, within the domain and field of graphic design. The attention falls on the dynamics of creativity and the cultivation thereof within cultural subject formation processes. Triangulated explorations of identity formation and identity within a culture in itself are undertaken, along with investigations into the culture of graphic design. Autoethnography (AE) is employed as practice-led research methodology and tool to extract data from autobiographic investigations that can be used to analyse and interpret the creative outcomes that were produced for the study. The cultural elements and principles of graphic design and the cultural elements and principles of an idiosyncratic enculturated graphic designer are compared, that result in answers to the main objective of the research conducted. Background and motivations introduce interpretation and contextualisation (personalisation) of AE as practice-led research methodology and method within graphic design as a cultural practice. The introduction is followed by creative practice that involves the generation of graphic design creative outcomes and the writing of a condensed autobiography. An in-depth literature review then provides a theoretical framework that sketches the discipline of practitioner within a field of practice, where after the practice is analysed, critically reflected upon and then AE interpreted, using the developed theoretical framework. From this, a detailed self-analysis follows. The process leads to the development of a new knowledge base and model (framework) that can be used in further research possibilities across other disciplines and cultural identity selections for self-reflection. This “strategic cultural preference facilitator model” consists of seven macro self-analytical identity markers, drawing on Appiah’s (2018) categories of Country, Creed, Colour, Gender, Class, and Culture (to which is added Professional Development). This is extended into ten micro sub-selfanalytical identity markers, namely: (1) Patriotism; (2) Paternalism; (3) Patriarchy and (4) Power; (5) the Pastoral; (6) Pretence; (7) Protection; (8) Punishment; (9) Privilege; and (10) Process, which are employed as socio-cultural identity lines of inquiry. The modelling and analysis processes documented in the dissertation could be extremely useful in most fields of human interaction, such as social work, psychology training, communication theory and practice, and in virtually all domains where the notion of self-critique as practice is prevalent (and necessary).

This thesis is a profoundly personal one. It examines the role of context in creation (authorship) and perception (reading an image) of representation. Born in Sri Lanka during the emergence of one the world's longest lasting civil wars, I never recognized my love and concern for the Island and its ancient history and culture until I traveled to America to pursue a higher education. Ever since, I have constantly found myself in situations where I am regarded as the 'other' or the 'outsider' ; I seem to not fit in completely in this country as well as in my own. In the US I am considered 'eastern' or 'exotic', whereas in my own country, I am considered 'westernized', no longer looked at as a typical Sri Lankan woman. This thesis examines and explores marginalization, orientalism, deconstruction theories, semiotic studies, dialect as well as attire, in the specific context of Graphic Design. / by Fathima Asma Nazim. / Thesis (M.F.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Tomando como objeto de estudio “La Biblia de 42 líneas impresa por Johann Gutenberg” en el Bloque Uno se comprenderán los orígenes de la industria gráfica a partir de una visión histórica de la vida de Gutenberg, Fust y Schöffer. En el Bloque Dos, se desarrolla el panorama de cómo se llega a la resolución gráfico-operativa que hizo posible la realización de los tipos móviles y su utilización en la imprenta. En la primera parte, se describen los elementos que se tenían antes de empezar la impresión; en la segunda, se analizan los elementos propios de la Biblia de 42 líneas; y en la tercera, se explica de cómo se realizó el paso hacia los tipos móviles. En el Bloque Tres, la parte práctica se divide en dos. Describe por un lado la presentación del catálogo digital de los tipos de la Biblia llamado “ginyB42” y por el otro, el análisis de clusters para comprobar con exactitud la existencia de diversas matrices de fundición para una misma letra. / The object of study in the present monographic research is the 42-line Bible allegedly printed by Johannes Gutenberg, in Block One will understand the origins of the printing industry from a historical view of the life of Gutenberg, Fust and Schöffer. In Block Two, our objective is to demonstrate that the graphic-operative solution that made possible the transition from calligraphy to movable types In Block Three, first introduce the digital catalogue of the Bible type called "ginyB42" and then, the cluster analysis to interpret a reality by means of a verification system that has served to mark with accuracy the existence of several font matrices for a same letter.

M. Tech. (Department of Visual Arts and Design: Graphic Design, Faculty of Human Sciences), Vaal University of Technology. / The way in which people consume music has changed over recent times, and the relationship between music and graphic design, once dominated by the ubiquitous album cover, has evolved. Along with cover art, musicians make use of branding, marketing, and promotion for all aspects of their published image, music performances, and products. The graphic designer working with musicians has had to adapt artwork to new formats, and build entire branding systems, which are prevalent in pop music, but seemingly less overtly utilised in classical music, which the study concentrates on. Due to waning attendance at live classical music concerts and increased streaming activity, both in audio and video, an opportunity exists within classical music, the focus of this study, to develop new audiences and nurture existing ones. The many tangential points that exist for graphic designers to consider in the music industry can be described as musicking, which pertains to all activities, processes, products and people involved in music-making, listening, recording, performing, producing and so forth, as explained by Elliott (1995) and Small (1999). This theoretical framework provides a lens for the graphic designer to view the totality and elements of the music industry and reconsider opportunities for collaboration and involvement. The goal of this study was to explore how one can use the principles and dynamics of graphic design to engage with and capture the dynamics of musicking in a branding project. In order to accomplish that, the main aim was to triangulate graphic design theory, musicking theory, and insights gleaned about and from a case-study client, to culminate in a practical case study using graphic design to support or capture the client’s musicking, so that the potential for refocusing the branding onto the musicking approach could be explored and interrogated. The literature revealed challenges and opportunities within the context of global consumption of music classical music and graphic design. The case study provided insights into a classical musician that records, teaches and performs, and his needs in terms of a practical project. The practical design project emanating from the exploration of musicking as an approach served as a culmination of insights gleaned from literature, the musician himself, and action research that may be transferable to designers working within the field of music branding, or musicians wishing to brand themselves. Findings showed that graphic design elements have the potential to echo the character of music, can act as a bridge to the artist and his or her stature, play an identifying and/or expressive role, and experientially transport listeners into meaningful engagement with the music. Recently, activities such as streaming have stripped music somewhat of the special, tactile context of physical packaging, but honouring audience expectations in a similar way in performance through graphic communication and artwork (including programs, screens, video and installations) offers other channels for reference points, as do online platforms for branding and engagement, that serve an interactive, dynamic interchange between artist and listener, promoting loyalty and support. As both the classical music industry and graphic design fields experience new demands brought about by technological advances, consumer behaviour and the vast options available to those digitally connected, great opportunity lies in the field of branding musicking. Classical music could potentially benefit from adopting a more audience-centric approach and consideration of a multisensory experience, as audiences have become spoiled for choice not only in music options available, but within the broader entertainment arena clamouring for their attention in a visually branded and captivating world. It simply is not enough anymore to believe that “[i]f you build it, he will come” (from the film Field of Dreams, in Parr 2015:4) and meaningful engagement with listeners through various touch points, builds lasting relationships and supportive fan bases that can ultimately affect a musician’s livelihood.