Este estudo aborda grafismos e conteúdos gráficos da comunicação visual na arquitetura e na cidade, estruturado em sistemas de códigos cromáticos, tipográficos e morfológicos na elaboração de linguagens projetuais, e a partir de pesquisas de projetos gráficos e experimentos desenvolvidos nas disciplinas configurar processos na elaboração de linguagens e metodologias, com ênfase nas necessidades didático-pedagógicas no ensino da Comunicação Visual. / This study it approaches drawings and graphical contents of the visual communication in the architecture and the city, structuralized in systems of chromatic codes, typographical and morphologic in the elaboration of project languages, on the basis of the research of graphical projects and experiments developed to disciplines, configuring processes in the elaboration of languages and methodologies with emphasis in the didactic-pedagogical necessities in the education of the Visual Communication.

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 Master's Thesis aims to analyze the visual communication of Národní památkový ústav, National Monument Institute. The theoretical part deals with the interpretation of corporate identity focusing on corporate design and corporate communication. The second part begins with an analysis of the main and derived elements of the visual communication and continues with a comparison of the elements of the public monument institutions abroad. At the very end the Thesis also includes some recommendations in order to make the whole corporate image of Národní památkový ústav better.

Commercial recordings - CDs, LPs - are familiar objects. However, discussion about them has often attempted to conceal the fact that, as communicating objects, recordings pose special problems due to the fact that they unite text, image, and sound in a material commodity. This thesis examines the role of the visual in the production, circulation and use of recordings. The album cover is the primary category of study, with an emphasis on its functioning in relation to the recording as a sonic and material commodity. The label ECM, a German company which has been producing recordings since 1969, provides the main focus in this analysis. The basis of this investigation lies in the questioning of the assumptions and categories that have historically guided the activity of cover design and the discourse about it. Traditionally, recordings have been understandably seen primarily as sound-carriers; their visual aspects, even when celebrated, are most often relegated to a peripheral status, despite the fact that in certain contexts the importance of the visual can overwhelm that of sound. The usual hierarchical opposition between these elements is here questioned through an examination of both the marketing of recordings and their circulation and use. ECM provides a pertinent case through which such questions can be elaborated. Its visual marketing strategies can be characterised in terms of a desire for difference. ECM's attempt to set itself apart has resulted in a "look" which rejects many conventions. It has also resulted in a complex, conceptual group of visual strategies. In its particular use of landscape photography, blank space, and gestural markings, ECM constructs ideas of space which relate to the potential for performativity and creativity. Through the combination of these strategies, the label deemphasises creative personality of the musical performer and emphasises the space occupied by the looker/listener. In doing this, it also questions the traditional boundaries between music and the visual. ECM's covers cause these categories to become indistinct and allow new conceptions of the recording as a material commodity to emerge. One effect of this is a construction of the apprehender's subjectivity that fails to fit within the marketplace's traditional categories. The thesis considers how the visual has been implicated in more concrete processes such as the negotiation of taste and practices of consumption and use. The niche that ECM attempts to carve out for itself is considered in relation to the tension in the marketplace between the desire for distinction and the recording as a massproduced commodity. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Orientador: Anna Paula Silva Gouveia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T05:36:06Z (GMT). No. of bitstreams: 1 Quattrer_Milena_M.pdf: 13017481 bytes, checksum: 7a1eb170e2c609135ce2bcc111f72ed5 (MD5) Previous issue date: 2013 / esumo: A presente dissertação de Mestrado tem como objetivo compreender o quanto a relação entre a cor e os outros elementos do infográfico interfere no processo de transmissão da informação e como os infográficos, publicados em jornais e revistas, contribuem para o aprimoramento daqueles destinados aos livros didáticos. Para tanto, realizei: o levantamento dos infográficos impressos, publicados em jornais e revistas, premiados nas edições 18, 19 e 20 dos 'Premios Internacionales Malofiej de Infografía¿, e dos infográficos impressos, publicados nos livros didáticos adotados através do 'Programa Nacional do Livro Didático¿ - 2011, nas disciplinas de Geografia, História e Ciências do ensino fundamental da EMEF CAIC 'Prof. Zeferino Vaz¿, localizada no município de Campinas/SP; entrevistas com os docentes responsáveis por essas disciplinas na unidade escolar e com membro do júri dos 'Premios Internacionales Malofiej de Infografía¿. Ademais, apresento, nesta dissertação, duas iniciativas de projeto, realizadas sob minha orientação, com alunos da EMEF CAIC 'Prof. Zeferino Vaz¿, sendo que uma delas, em especial, objetivou discutir a importância da informação, as formas de organizá-la e transmiti-la no contexto escolar e na sociedade, através do estímulo à pesquisa e à elaboração de infográficos. As reflexões geradas a partir das iniciativas de projetos realizados com os alunos, das análises dos infográficos e das entrevistas forneceram apontamentos importantes sobre o que pode ser aproveitado dos infográficos premiados para o aprimoramento dos que são destinados aos livros didáticos, em especial no uso da cor, e demonstraram como é importante proporcionar situações de ensino-aprendizagem, nas quais o aluno tenha a oportunidade de se apropriar dos códigos visuais e, consequentemente, ampliar sua cultura visual / Abstract: This research aims to understand how the relationship between color and other elements of the infographics interfere with the process of information transmission, and how infographics published in newspapers and magazines can contribute to improve the ones used in Schoolbooks. To achieve these goals, a survey of infographics printed in newspapers and magazines, which have won the 'Malofiej International Infographics Awards' in the 18th, 19th and 20th editions, and of infographics printed in Schoolbooks used in the EMEF CAIC ' Prof. Zeferino Vaz (Cam-pinas/SP/Brazil) elementary School for Geography, History and Science (these books were se-lected by a Federal Government Program "Programa Nacional do Livro Didático ¿ 2011¿) was made. Interviews with teachers responsible for the above-mentioned subjects and with the jury members of the 'Malofiej International Infographics Awards' were also performed. Furthermore, two projects under, my supervision, with the students of the above mentioned elementary school were also performed. The main goal of one of these projects was to discuss the importance of information and the ways to organize it and communicate it either in the school or in the society, encouraging the research and the development of infographics. The reflections generated after the projects undertaken with the elementary school students, analysis of infographics and interviews, provided important notes about what can be availed from the awarded infographics in order to improve the infographics made for the schoolbooks, especially in regards of the use of color. Finally, the present research demonstrated how important it is to provide teaching-learning situations in which the students have the opportunity to appropriate the visual codes and hence their visual culture / Mestrado / Artes Visuais / Mestra em Artes Visuais

All human communication is narrative in nature (Fisher, 1987) and should adhere to narrative rationality and value-laden idealistic-moralistic or materialistic Master Analogues to be accepted by audiences (Fisher, 1985). This study examined the persuasive nature of the visual narratives presented by the 2020 presidential candidate’s official Facebook posts as well as examine how the candidates’ rhetorical visions create referential points in constructing the viewers’ own identities as supporters (Messaris, 1997). As Foss, Foss, & Trapp (2002) contend, “a basic function of the media is the creation of representations or simulations – reproduced versions of reality” (p. 313). The version of reality being presented on each candidate’s official Facebook page creates narratives as means of influence and cultivating group identity.

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​​I collect things, I chew them up. I put them in a pile, and they merge. Snippets of texts, a note in the margin, screenshots and ornaments rub against each other until they become something else. A fertiliser for new ideas to grow from.  The seed of this project was a climate crisis-related numbness: I felt stuck between individual responsibility and powerlessness. Between wanting immediate restorative action and realising the need for a deeper systematic change. I began digging into the history of the Western view on nature, tracing its dark roots. Now, two years later, I re-emerge, and I want to share my findings. Using collage as a visual translation of the compost pile, the project is an expression of multiple voices, exemplifying the need for collective thinking and action in these matters.  With the Compost Compendium I offer a collection of entry points into a reimagining of the relationship we have with the ecologies in and around us. I have filled it with things that have inspired me, angered me, puzzled me, made me smarter, made me laugh, made me want to get my hands dirty. I invite my reader to go foraging and collect their own pile. Dive into it and share it with a friend.

This dissertation focuses on text-image conceptual models for literary interpretation and composition in the digital age. The models investigate an interactive blend of textually-based linear-sequential approaches and visually-based spatial-simultaneous approaches. The models employ Gestalt-inspired figure-ground segregation models, along with other theoretical models, that demonstrate the dynamic capabilities of images as conceptual tools as well as alternate forms of text. The models encourage an interpretative style with active participants in openended, multi-sensory meaning-making processes. The models use the flexible tools of modern technology as approaches to meaning-making with art strategies used for research strategies as well as a means to appreciate reading and writing in the context of an increasingly visual environment.