O ensino de design, compreendendo os campos do desenho industrial e da comunicação visual, foi implementado na Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo em 1962. A inclusão dessas disciplinas no curso de Arquitetura fazia parte de um novo modelo de ensino que visava a uma formação ampla para o arquiteto. Com o propósito geral de contribuir para a consolidação dos estudos sobre as raízes do ensino paulistano e brasileiro de design, o objetivo desta pesquisa foi o resgatar, registrar e analisar a história do ensino de comunicação visual na FAU USP, apresentando personagens envolvidos, conteúdos programáticos e didáticas empregados nos anos 1960. A partir de uma abordagem qualitativa, a pesquisa contou com um extenso levantamento de dados, obtidos por meio de métodos de história oral e da microhistória, que também delinearam o âmbito de análise das informações reunidas. Como resultado, compreendeu-se que o ensino de comunicação visual da FAU USP, nos anos 1960, recebeu algumas influências internacionais, sobretudo a da escola Bauhaus. Além disso, a influência do perfil dos docentes - alguns artistas-plásticos, outros arquitetos de vertente moderna - sobre esse ensino foi determinante para os caminhos tomados e para o estabelecimento de uma certa dicotomia, que marcou o ensino da Sequência de Comunicação Visual daquela década, entre uma visão baseada na sensibilidade artística e outra na metodologia racionalista do projeto. Concluiu-se que o ensino de comunicação visual na FAU USP, balizado tanto pelas artes plásticas quanto pelo design gráfico moderno, atendeu ao objetivo da reforma do ensino feita em 1962, formando profissionais com atuação abrangente e plural. / Education in design, comprising industrial design and visual communication, was implemented at the Faculty of Architecture and Urbanism at the University of São Paulo in the year 1962. These disciplines were included in the curriculum of Architecture as part of a novel education model, with the target of qualifying professionals with a broadened vision. In this study, we rescued, recorded and analysed the history of the education in visual communication at FAU USP, as a contribution to the reconstruction of the roots of education in design in São Paulo and in Brazil as a whole. Based upon an extensive data collection and using a qualitative approach, we present historical figures, content of the disciplines, and teaching practices in the 1960s. Methods of oral history and micro-history were adopted to rescue and analyse the information obtained. We verified that the education on visual communication at FAU USP in the 1960s emerged under international influences, particularly from the Bauhaus school. In addition, some Brazilian artists and modern architects, in charge of some disciplines, exerted strong influences on the design education and established a certain dichotomy between a more artistic and a more rationalistic way of teaching in the Visual Communication sequence during that decade. We concluded that the combination of these two approaches - artistic and modern graphic design - provided the education in visual communication at FAU USP to reach the goals of the historical educational reform of 1962: training professionals with a more broad and plural vision of the design.

Made available in DSpace on 2015-03-05T18:25:04Z (GMT). No. of bitstreams: 0 Previous issue date: 16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A camiseta estampada expressa e representa a grande diversidade cultural exposta nas ruas, vestindo sujeitos que transitam pelo cenário vivo e dinâmico das cidades, produzindo diferentes sentidos, além de interações. Nesta investigação, a ênfase recai não apenas sobre a definição deste meio de comunicação, mas também sobre sua processualidade comunicativa, considerando-se que pode ser percebido e identificado junto à Comunicação Visual Urbana. Mesmo à margem dos muitos objetos estudados pelo campo da Comunicação, a camiseta estampada é marcada por um viés publicitário, no que diz respeito ao seu uso ou abordagem, sendo, ainda, atravessada por lógicas comunicacionais. Deste modo, a discussão aqui é empreendida a partir de uma perspectiva que envolve a interação social como ângulo principal, e o objeto empírico – camiseta estampada – enquanto fenômeno investigado. Sua observação é realizada a partir da utilização de métodos que se aproximam da Pesquisa Etnográfica, com ênfase e destaque para a Fotografia, consi / The printed t-shirt expresses and represents the great cultural diversity found on the streets, dressing individuals that walk around in the alive and dynamic scene of the cities, producing different meanings and interactions. In this research, the emphasis is not just on the definition of this medium, but also on its communicative process, considering that it can be perceived and identified at the Urban Visual Communication. Having a small part in the scope of many objects of study in the Area of Communication, the printed t-shirt is marked by an Advertising perspective, related to its use or approach, and also crossed mainly by logical communication. Therefore, this discussion is based on the perspective that involves the social interaction as its main angle, and the empirical object – the printed t-shirt – as the phenomenon investigated. Its observation is based on the use of methods that approaches related to the Ethnographic Research, with emphasis on the Photography, considered as an important Visual Me

Este estudo trata da relação entre a comunicação visual urbana e sua percepção e uso pelos indivíduos em deslocamento pela cidade. A investigação concentrou-se na avaliação dos desempenhos estético e funcional da comunicação visual urbana em relação à influência que cada desempenho tem na apreensão do espaço construído segundo duas condições de mobilidade do transeunte ― a pé e de ônibus, e foi realizada através de um estudo de caso. Para tal, foram propostas três categorias de comunicação visual urbana: Comunicação de Ponto de Venda, Sinalização Urbana Pública e Mídia Exterior, elaborada uma metodologia a partir da Sintaxe Espacial e da Percepção Ambiental e selecionadas duas vias de Porto Alegre. A metodologia propõe o estudo do transeunte em dois aspectos: a identificação espacial do transeunte, utilizando a análise sintática do espaço urbano, e a percepção diferencial do transeunte, através da avaliação da percepção da qualidade visual do ambiente construído. Foram exploradas as hipóteses de que (1) de modo geral, as pessoas não prestam atenção à comunicação visual urbana, (2) existe uma percepção diferencial entre o transeunte em deslocamento a pé e o transeunte em deslocamento em ônibus, e (3) esta diferenciação incide sobre as categorias e os desempenhos da comunicação visual urbana. Os resultados mostram que desempenho estético influencia a percepção dos dois tipos de transeuntes, entretanto o desempenho funcional é especialmente relevante para os transeuntes de ônibus. / The present study deals with the relationship between urban visual communication and its perception and use by individuals in displacement across the city. The research focused on the evaluation of both aesthetic and functional performances of urban visual communication regarding the influence that each performance has in the apprehension of built space in two conditions of mobility of passers-by: on foot and by bus, and was carried out through a study case. For this purpose, three categories of urban visual communication were proposed: Point of Purchase Communication, Urban and Public Signaling and Outdoors Media; a methodology based on Space Syntax and Environmental Perception was developed and two itineraries in Porto Alegre were selected. The methodology proposes the study of the passer-by under two aspects: space identification of the passer-by, using syntactic analysis of urban space; and differential perception of the passer-by, assessing the perception of the visual quality of built environment. Hypotheses have been explored that (1) in general, people do not pay attention to urban visual communication, (2) there is a differential perception between passers-by in displacement on foot and passers-by in displacement by bus, (3) this differentiation focuses on the categories and performances of urban visual communication. Results show that aesthetic performance influences the perception of the two types of passers-by. However, functional performance is especially relevant to the passer-by in displacement by bus.

The goal of my thesis is to evaluate the current status of visual communication and Corporate Identity of LABORATOIRE BIODERMA CZECH REPUBLIC s.r.o. based on the analysis and to find out whether the Corporate Identity is together with visual communication of this company appropriately designed and to expose their weaknesses. The goal is to find out how the public perceives the brand "BIODERMA", what the opinion of the brand and its competitors is, what brand knowledge and awareness is and how the company communicates, especially visually. Based on the results of research, which were realized by method - polling via the online questionnaire, I propose the appropriate recommendations and the solution of discovered deficiencies. My thesis should be also benefit for other companies besides the company BIODERMA. I show a manual how correctly to use visual communication, I explain the meaning of visual communication, what kind of various forms exist today, what the trends are, how it relates to Corporate Identity and what Corporate Identity is. This thesis provides a consistent view on the problems of visual communication of companies and Corporate Identity, because these two terms are closely related.

Made available in DSpace on 2016-04-29T14:23:17Z (GMT). No. of bitstreams: 1 Andre Luis Reis Santos.pdf: 7109531 bytes, checksum: a6a1492440a23adb897c54c456565a57 (MD5) Previous issue date: 2013-01-29 / Visual information has become extremely important in the construction of a message that aims to communicate, however, the applicability of studies focused on visual communication and image still does not receive the same care as textual information. This paper aims to discuss the importance of image and how it is presented to the reader. For this, was used features of design and perception of the image to increase visual clarity. Gestalt, information design and editorial are part of this study. Two cases were analyzed, where visual communication caused wrong interpretation / A informação visual se tornou extremamente importante na construção de uma mensagem que tem como intuito a comunicação, entretanto, a aplicabilidade de estudos voltados à imagem e a comunicação visual ainda não recebem o mesmo cuidado como a informação textual. Esta dissertação tem como objetivo discorrer sobre a importância da imagem e da forma como ela é apresentada ao leitor. Para isso, foram utilizados recursos do design e da percepção da imagem para aumentar legibilidade visual. Gestalt, design de informação e editorial fazem parte deste estudo. Foram analisados dois casos, onde a comunicação visual causava interpretações erradas

A comunicação por meio de dispositivos visuais tem tomado cada vez mais espaço na gestão na construção civil, tornando, assim, a gestão visual uma importante estratégia de comunicação de curto alcance com base na veiculação de informações de forma cognitivamente mais eficiente. Apesar do número crescente de práticas de gestão visual em empreendimentos de construção relatadas na literatura, a aplicação dessas práticas em canteiros de obras ainda é muito limitada. Além disso, pesquisas sobre o processo de elaboração e implementação de dispositivos de gestão visual são relativamente escassas. As contribuições teóricas mais recentes têm focado principalmente na definição de taxonomias para as práticas de gerenciamento visual existentes ou nos impactos de dispositivos visuais concebidos para propósitos específicos, tal como no planejamento e controle da produção. Além disto, a introdução de dispositivos visuais é muitas vezes vista como algo intuitivo e baseado no senso comum, sem considerar a demanda por informações de forma sistemática ou os modelos mentais de potenciais usuários. De fato, a produção de alguns dispositivos visuais requer uma grande quantidade de trabalho não-visual que não é devidamente reportado, sendo, muitas vezes, negligenciado por pesquisas sobre este tema O presente trabalho tem por objetivo desenvolver um modelo para concepção de dispositivos visuais considerando a necessidade de trabalho não-visual, sendo dado foco ao contexto da gestão da produção na construção civil. Design Science Research foi a abordagem metodológica adotada nesta investigação, a qual foi dividida em duas fases distintas. A Fase 1 consistiu na realização de cinco de caso breves, de caráter descritivo, em cinco empresas de outros setores que tinham boas práticas em gestão visual, e de um estudo empírico em um canteiro de obras, no qual foram implementadas melhorias em alguns dispositivos visuais. A Fase 2 contou com um estudo empírico de caráter descritivo em uma empresa construtora, abrangendo, além do canteiro de obras, os departamentos técnicos e gerenciais da empresa. Além do modelo proposto, as principais contribuições desta são: (a) o refinamento dos constructos relacionados à gestão visual na construção civil a partir de um contraponto entre o conhecimento já consolidado na área e o conhecimento explorado em outras áreas de pesquisa, tais como neurociência, ciências sociais e computação; (b) a definição de requisitos para dispositivos visuais na gestão do canteiro de obras; e (c) a formulação de diretrizes para concepção e implementação de dispositivos visuais na construção civil, que podem ser usadas como referência para empresas que pretendem desenvolver ou aperfeiçoar o gerenciamento visual para apoiar a gestão da produção. / Communication through visual devices has increased in construction management, thus making visual management an important short-range communication strategy based on the transmission of information in a cognitively more efficient way. Despite the increasing number of visual management practices in construction projects reported in the literature, the application of these practices in construction sites is still very limited. In addition, research into the process of designing and implementing visual management devices is relatively scarce. The most recent theoretical contributions have focused mainly on defining taxonomies for existing visual management practices or on the impacts of visual devices designed for specific purposes such as production planning and control. Moreover, the introduction of visual devices is often seen as something intuitive and based on common sense, without considering systematically the demand for information or the mental models of potential users. It should be noted that the designing of some visual devices requires a great deal of non-visual work that is often hidden, and is often neglected by research initiatives on this subject. The aim of this research work is to devise a model for conceiving visual devices considering the need for non-visual work, focusing on the context of production management in construction Design Science Research was the methodological approach adopted in this investigation, which was divided into two phases. Phase 1 consisted of five short case studies in five companies from other sectors, which had good practices in visual management, and one empirical study in a construction site, in which some improvements in visual devices were implemented. In Phase 2 a descriptive case study was carried out in a construction company, including not only visual management practices from construction sites, but also from technical and managerial departments of the organization. In addition to the proposed model, the main contributions of this investigation were: (a) the refinement of constructs related to visual management in construction, by confronting knowledge that is already consolidated in this field, and knowledge explored in other research areas, such as neuroscience, social sciences, and computing; (b) the definition of requirements for visual devices in the management of construction sites; and (c) the formulation of guidelines for the design and implementation of visual devices in construction, which could be used as a reference for companies that intend to develop or improve visual management systems for production management.

A investigação de requisitos de projeto é uma atividade essencial da prática do design, associada a configuração do problema de projeto. Contudo, a técnica para esta atividade é muitas vezes desafiadora para os designers que possuem uma orientação para a resolução de problemas ao invés da configuração dos mesmos. Identificar todos os requisitos durante o estágio inicial de um projeto, seria o cenário ideal de trabalho para um designer. É amplamente aceito que a natureza do processo de design ocorre através da co-evolução do problema-solução, o que indica a existência da redefinição de requisitos durante o curso de um projeto. Entretanto, requisitos constantemente redefinidos em um projeto podem ser prejudiciais tanto na perspectiva do designer quanto do seu cliente, pois afetam na gestão do projeto e desgastam relação entre os envolvidos. Com o objetivo de compreender melhor este fenômeno e as suas causas, esta pesquisa, portanto, investigou como os designers de comunicação visual lidam com os requisitos de projeto, e com as suas respectivas mudanças durante o curso de um processo O método utilizado foi baseado no protocolo de Haug (2015), que investigou o mesmo tema, mas com designers de produto. Nove entrevistas foram realizadas com diferentes designers, que tiveram áudio digitalmente gravado, e posteriormente foram transcritas e analisadas. Como resultado, foi constatada a aplicabilidade do protocolo de Haug (2015) em design de comunicação visual, a descoberta de relações entre as categorias de mudanças de requisitos, e o desenvolvimento de duas ferramentas para auxiliarem o designer a compreender o seu processo de trabalho, e como adotar uma estratégia adequada para desempenhar o seu processo de trabalho de acordo com o seu próprio perfil e o do seu cliente. / The investigation of project requirementes is an essencial task in design activity, also associated with problem setting. However this technique is often challenging for designers, wich are problem solving oriented instead of problem setting. The identification of all project requirements at the biginning of a project would be the ideal scenario for a designer. Nevertheless design activity is more like the evolution of problem-solution, pointing that project requirements are redefined during a design process. Requiremetns redefinitions during a design process, can be harmful for both designer and his client, because it affects their project managment and also their relationship. Aiming to better understand this phenomena and it’s causes, this research investigated how visual communication designers work performing the elicitation of project requirements and deal with requirement redefinition during their projects. The method used was based on Haug’s (2015) protocol, who investigated the same subject, but with product designers. Nine designers were interviewed with the audio digitally recorder, and afterwards all interviews were transcripted and analyzed. As a result, it was found that Haug’s (2015) protocol was applicable to visual communication design, a connection between the categorys of changing project requirements was drawn, and tools were developed to help designers decide for a process strategy between the different client ant their own profiles.

Kan, Ka Lai Carrie. / "May 2008." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 118-125). / Abstracts in English and Chinese, some text in appendix also in Chinese. / Chapter CHAPTER 1: --- INTRODUCTION --- p.1 / Chapter CHAPTER 2: --- LITERATURE REVIEW / Introduction --- p.3 / Medication error --- p.4 / Definition of medication error --- p.4 / Incidents of medication error --- p.6 / The issues of defining medication error --- p.7 / The issue of medication error reporting --- p.8 / Near miss --- p.9 / Factors associated with medication error --- p.10 / System factors --- p.10 / Environmental factors --- p.12 / Human factors --- p.13 / Slips and lapses and medication error --- p.14 / "Distraction, slips and lapses and medication error" --- p.15 / Distraction --- p.15 / Definition of distraction --- p.15 / Consequences of distraction --- p.16 / Factors associated with distraction --- p.16 / Cognitive factors --- p.17 / Personality factors --- p.18 / Environmental factors --- p.18 / Studies on distraction during medication administration --- p.19 / Distraction and medication error --- p.21 / Strategies to reduce distraction --- p.22 / Visual Sign --- p.23 / Definition of visual sign --- p.23 / Nature of visual sign --- p.24 / Studies on visual sign to reduce distraction --- p.25 / Summary of literature review --- p.25 / Chapter CHAPTER 3: --- METHODOLOGY / Introduction --- p.27 / Aims and objectives --- p.27 / Operational definitions --- p.28 / Research design --- p.28 / Setting --- p.31 / Stage one --- p.32 / Setting --- p.32 / Sampling --- p.33 / Instrument --- p.35 / Data collection method --- p.36 / Data analysis --- p.37 / Stage two --- p.38 / Stage three --- p.40 / Pilot study --- p.40 / Validity and reliability of methodology --- p.41 / Interview --- p.41 / Observation --- p.42 / Ethical considerations --- p.43 / Chapter CHAPTER 4: --- FINDINGS / Introduction --- p.44 / Stage one --- p.44 / Baseline interview --- p.44 / Informants' characteristics --- p.44 / Categories and sub-categories --- p.45 / Feelings of medication error --- p.46 / Causes of medication error --- p.47 / Causes of distraction --- p.49 / Perception of distraction --- p.50 / Feelings about distraction --- p.52 / Strategies to reduce distraction --- p.53 / Strategies to reduce medication error --- p.54 / Baseline observation --- p.56 / Findings of stage one --- p.59 / Stage two --- p.60 / One week after implementation observation --- p.60 / Findings of stage two --- p.63 / Stage three / Three months after implementation observation --- p.63 / Follow-up interview --- p.66 / Informants' characteristics --- p.66 / Categories and sub-categories --- p.67 / Conflicting feelings --- p.68 / Different effects on nursing service --- p.69 / Feelings about wearing the red vest --- p.70 / Enhanced a non-distractive culture --- p.72 / Improved cognitive process --- p.73 / Improved performance --- p.75 / Findings of stage three --- p.76 / Comparison of the three stages of quantitative observational data --- p.77 / "Lapse time, items given, and number of patients" --- p.77 / Comparison of lapse time and total distraction --- p.78 / Comparison of the ten items on distraction --- p.78 / Comparison of total distraction --- p.79 / Comparison of near misses --- p.80 / Overall Summary of the findings --- p.80 / Chapter CHAPTER 5: --- DISCUSSION / Introduction --- p.82 / Characteristics of informants and observational data --- p.82 / Nurseśة perception of distraction as a cause of medication administration error --- p.83 / Causes of distraction during medication administration --- p.87 / Evaluation outcome --- p.91 / Evaluation process --- p.98 / Chapter CHAPTER 6: --- "LIMITATIONS, IMPLICATIONS AND RECOMMEDATIONS" / Limitations --- p.111 / Setting --- p.111 / Population and sampling --- p.111 / Observer's influence --- p.112 / Interviewer's influence --- p.112 / Implications for nursing practice --- p.113 / Recommendations for future studies --- p.114 / Conclusion --- p.116 / REFERENCES --- p.118 / APPENDICES / Chapter 1: --- Literature search --- p.126 / Chapter 2: --- Medication Administration Distraction Observation Sheet (MADOS) --- p.127 / Chapter 3: --- Adapted MADOS --- p.128 / Chapter 4: --- Baseline interview guide --- p.129 / Chapter 5: --- Interview consent form --- p.130 / Chapter 6: --- Observation consent form --- p.136 / Chapter 7: --- Informal letter to nursing staff --- p.142 / Chapter 8: --- Follow-up interview guide --- p.144 / Chapter 9: --- Rationale for pilot study --- p.145 / Chapter 10: --- Ethical approval (CUHK) --- p.147 / Chapter 11: --- Ethical approval ( Hospital Administrative Council) --- p.148 / Chapter 12: --- Baseline interview (1) --- p.149 / Chapter 13: --- Baseline observation (MAC 4) --- p.154 / Chapter 14: --- One week after observation (MAC 01) --- p.155 / Chapter 15: --- Three months after observation (MAC 005) --- p.156 / Chapter 16: --- Follow-up interview (08) --- p.157 / TABLES / Chapter 1: --- Different units and the approximate numbers of nurses --- p.30 / Chapter 2: --- Proposed sample size for baseline interview --- p.33 / Chapter 3. --- Medication administration at different scheduled time --- p.35 / Chapter 4. --- Informantśة characteristics at baseline interview --- p.45 / Chapter 5: --- Categories and subcategories: baseline interview --- p.46 / Chapter 6: --- "Elapse time, items given, number of patients, distractions and near misses at baseline observation" --- p.57 / Chapter 7: --- Frequency of the ten items of distraction at baseline observation --- p.57 / Chapter 8: --- Ranking of the ten items on distraction at baseline observation --- p.58

<p>Visualization is a lean tool and in order to strive to become a lean company applying the lean philosophy in all these parts of the organization is necessary. A company that does not understand the philosophy and culture behind lean production, even though applying lean tools, is not a lean business and has a long way to production excellence.</p><p> </p><p>Implementing and becoming a visual organization means change which includes the organizational culture, collective attitude and beliefs. The difference between success and failure is about the ability to provide knowledge, information and to create prerequisites for participation and engagement at all levels in the organization with a clear and direct leadership.</p><p> </p><p>In many companies communication is lacking sufficient and official channels, and the inadequacy in the information systems are usually due to functional thinking and strict boarders at all levels in an organization. New ways of communication are the result of process orientation, demanding new prerequisites for information systems which companies needs to develop and thus become more visual. Knowledge and information needs to become more accessible and objective in order for decision to be taken based on facts not be the result of interpretations of reality. Visualization enables people to see and develop an objective and common reality. It further contributes to the organizations ability for improvement and aligns the employees to fulfill the overall business objectives and strategies.</p><p> </p><p>The Company in this case that wants to be anonymous will further be called Company X. Company X objective is to develop a visual communication system to increase the information sharing and flow throughout the organization. However, this is not an easy task and many companies lack sufficient prerequisites to carry out a successful implementation. The research result at Company X has in this study shown weaknesses in core areas as in clear and direct leadership, vision and strategy development and communication as well as a low level of knowledge transformation at all levels in the organization in order to create engagement for the change process which an implemetion of this kind is.</p><p> </p> / <p>Visualisering är ett lean verktyg och i sträva att bli ett lean företag måste lean filosofin tillämpas i alla delar av organisationen, vilket är en nödvändighet. Ett företag som inte förstår filosofin och kulturen bakom lean produktion, trots att man tillämpar lean verktyg, är inte ett lean företag och har en lång väg från optimering av produktion. Förutsättningarna att bli en visuell organisation innebär förändringar som omfattar organisations kultur, kollektiva attityder och föreställningar. Skillnaden mellan framgång och misslyckande handlar om förmågan att ge kunskap, information och att skapa förutsättningar för delaktighet och engagemang på alla nivåer i organisationen, detta genom ett tydligt och direkt ledarskap.</p><p> </p><p>Kommunikation på många företag saknar ofta tillräckliga och officiella kanaler och bristen på information beror många gånger på funktionstänkande och strikta gränser, på alla nivåer i organisationen. Nya sätt att kommunicera är resultatet av processorientering vilket krävs för att företag ska kunna skapa förutsättningar för informationssystem och bli mer visuella. Kunskap och information måste bli mer tillgängligt och objektivt för att beslut som är baserade på fakta och inte på tolkningar av verkligheten ska kunna fattas. Visualiseringen möjliggör för människor att se och utveckla en objektiv och gemensam verklighet. Detta bidrar till organisationers möjlighet till förbättringar och möjlighet för de anställda att uppfylla de övergripande affärsmålen och strategierna för organisationen.</p><p> </p><p>Det studerade företaget som valt att vara anonymt kommer hädanefter kallas för Företag X. Företag X målsättning är att utveckla ett visuellt kommunikationssystem i syfte att öka utbytet av information och dess flöden . Men detta är inte en lätt uppgift och många företag har inte tillräckliga förutsättningar för att kunna genomföra en framgångsrik implementering. Resultaten från studien på företaget X visar på svagheter inom kärnområden som ett klart och tydligt ledarskap, utvecklandet och kommunikationen av vision och strategier samt en låg nivå rörande kunskapsspridandet på alla nivåer i organisationen för att skapa engagemang för förändrings process som en implementering av detta slag innebär.</p>

<p>This thesis is about cover illustrations of DVD movies as examples of visual communication. I have studied the cover illustrations of the three movies <em>Gran Torino, Secret Window</em> and <em>As White As Snow.</em> My research assignment has been to find out how the cover illustrations of DVD movies communicate in relation to the story. I have also been looking for what makes a cover illustration interesting and if the interest in itself is individually considered or if there are certain general rules regardless of the observer.</p><p>To reach a conclusion I have been studying components in advertising pictures, visual communication and how the commercial producers use advertising to communicate with the observer. Semiotics, advertising and comparisons between the cover illustrations have been my method for analyze.</p><p>I have come to the conclusion that cover illustrations are meticulously produced, and that every single part of them is important for the observers’ over all impression and interpretation of the cover illustration. The place of picture elements, colours, looks and occurrence of persons in the covers are striving to send a uniform message about the cover and movie. They also guide the observer in his/her interpretation of the cover and what kind of movie it represents, and they are components that make the cover more visible. What makes the cover illustration interesting is both something individual and something general. For example the occurrence of humans, looks, strong emotions and colours make the cover more visible and interesting in relation to others. The observers’ interest for the cover may be individual depending on the observer’s experiences and interpretation.</p><p> </p>