abstract: Traditional design education consists of three phases: perceptual, transitional, and professional. This study explored three independent variables (IVs) as predictors of success in the Transitional Phase of a visual communication design (VCD) program: (a) prior academic performance (as reported by GPA); (b) cognitive style (assessed with Peterson, Deary, and Austin's Verbal Imagery Cognitive Styles Test [VICS] and Extended Cognitive Style Analysis-Wholistic Analytic Test [E-CSA-WA]); and (c) learning style (assessed with Kolb's Learning Style Inventory [LSI] 3.1). To address the research problem and hypothesis, this study examined (a) the relationship between academic performance, cognitive style, and learning style, and visual communication design students' performance in the Transitional Phase; (b) the cognitive style and learning style preferences of visual communication design students as compared with other samples; and (c) how the resulting knowledge can be used to improve instructional design for the Transitional Phase in VCD programs. Multiple regression analysis revealed that 9% of Transitional Phase performance was predicted by studio GPA. No other variables were statistically significant predictors of Transitional Phase performance. However, ANOVA and t tests revealed statistically significant and suggested relationships among components of the independent variables, that indicate avenues for future study. The results are discussed in the context of style-based learning theory, and the cognitive apprenticeship approach to instructional design. / Dissertation/Thesis / M.S.D. Design 2011

L’industrie publicitaire est un travail quotidien de collaboration entre deux « hémisphères » distincts : l’un de nature commercial et l’autre de nature créatif. Des individus qui favorisent des aspects logiques et rationnels se doivent de collaborer avec des individus qui favorisent des aspects intuitifs et artistiques, ce qui suscite des tensions. Cette mise en relation s’opère au travers d’un processus, que nous nommerons processus de design visuel communicationnel car il permet de relier la communication au design, approche que nous adoptons dans ce mémoire. L’industrie publicitaire s’est dotée d’outils permettant de faciliter le processus de design visuel communicationnel, dont le brief créatif. Notre recherche propose d’observer la manière dont les « commerciaux » et les « créatifs » perçoivent leur travail quotidien en agence et comment le brief créatif est réquisitionné. Nous adoptons une posture interprétative pour tenir compte de la complexité du phénomène et nous mobilisons une série d’entrevues pour répondre à nos questions de recherche. Nos questions de recherche sont les suivantes : de quelle manière les « commerciaux » et les « créatifs » négocient-ils les tensions lors du processus de design visuel communicationnel? Quels rôles le brief créatif occupe-t-il au sein de ce processus? Les résultats nous renseignent sur les transformations et les innovations qui émergent des tensions entre les « commerciaux » et les « créatifs » et sur l’importance que revêtent les caractéristiques communicationnelles du brief créatif dans le cadre du processus de design visuel communicationnel. / The advertising industry involves a daily collaboration between two ways of thinking or two hemispheres: one of commercial nature and the other of creative nature. Rational and logical individuals must collaborate with intuitive and artistic individuals, and from this collaboration emerge various tensions. In the advertising industry, this relationship operates throughout a process of visual communication design. We chose to use the term visual communication design process because it illustrates our approach in this research, an approach that joins communication and design. The advertising industry has developed tools to facilitate the visual communication process: among them the creative brief. Our research proposes to observe how “commercials” and “creatives” in the industry perceive their day-to-day work and their use of the creative brief through a series of interviews. Our questions are: in which ways do the “commercials” and “creatives” negotiate the tensions that emerges from the visual communication design process? What are the roles of the creative brief throughout this process? Our findings illustrate the transformations and innovations that emerge from the tensions between “commercials” and “creatives” and highlight the importance of the communicational characteristics of the creative brief as part of the visual communication design process.

Accompanying workbook not available in digital format / Both empirical and anecdotal evidence indicates that visual communication1 design practices implemented by designers with full colour vision often disadvantage, and sometimes endanger, colour-blind people. The thesis The Machine postulates that colour-blind people – comprising approximately 8% of males and 0.5% of females (Lewis et al., 1990) – are marginalized by such practices. It argues that this group could benefit from a design strategy that enhances the communicative potential and visibility of colour. The proposed strategy involves embedding pattern into potentially confusing colours such as red and green. The embedded pattern would function for colour-blind people as an additional clue to the identity of these colours. The thesis contends that while colour alone can be confusing for colour-blind people, patterned colour could offer a solution with a wide range of possible applications. The research aims of The Machine include: developing a system of patterned colour; creating a wordless picture book that demonstrates the effectiveness of the system; constructing a narrative around the condition of red-green colourblindness; and employing visual rhetoric2 to increase awareness of and sensitivity to colour-blindness among those with full colour vision. The design of the thesis is supported by research in a number of interrelated areas. These include the history of pattern post-1850, particularly in Western culture; precedents for patterned colour; and visual rhetoric in story-telling. The research also incorporates an analysis of the defining characteristics of ten late twentieth-century and early twenty-first-century wordless picture books. The thesis is further supported by applied research into patterned colour and visual rhetoric. The Machine aims to benefit colour-blind people, a significant minority group whose visual needs are currently inadequately met. In addition, it proposes broadening the cultural role and significance of pattern. Moreover, by incorporating informative elements usually associated with pedagogic material, it aspires to extend the boundaries of the fantasy picture book genre. 1 Visual communication (n): communication that relies on vision (Wordnet, 2006). 2 Visual rhetoric: the use of visual techniques, such as the creation of visually ‘engaging’ characters, as a means of persuading a target audience

Accompanying workbook not available in digital format / Both empirical and anecdotal evidence indicates that visual communication1 design practices implemented by designers with full colour vision often disadvantage, and sometimes endanger, colour-blind people. The thesis The Machine postulates that colour-blind people – comprising approximately 8% of males and 0.5% of females (Lewis et al., 1990) – are marginalized by such practices. It argues that this group could benefit from a design strategy that enhances the communicative potential and visibility of colour. The proposed strategy involves embedding pattern into potentially confusing colours such as red and green. The embedded pattern would function for colour-blind people as an additional clue to the identity of these colours. The thesis contends that while colour alone can be confusing for colour-blind people, patterned colour could offer a solution with a wide range of possible applications. The research aims of The Machine include: developing a system of patterned colour; creating a wordless picture book that demonstrates the effectiveness of the system; constructing a narrative around the condition of red-green colourblindness; and employing visual rhetoric2 to increase awareness of and sensitivity to colour-blindness among those with full colour vision. The design of the thesis is supported by research in a number of interrelated areas. These include the history of pattern post-1850, particularly in Western culture; precedents for patterned colour; and visual rhetoric in story-telling. The research also incorporates an analysis of the defining characteristics of ten late twentieth-century and early twenty-first-century wordless picture books. The thesis is further supported by applied research into patterned colour and visual rhetoric. The Machine aims to benefit colour-blind people, a significant minority group whose visual needs are currently inadequately met. In addition, it proposes broadening the cultural role and significance of pattern. Moreover, by incorporating informative elements usually associated with pedagogic material, it aspires to extend the boundaries of the fantasy picture book genre. 1 Visual communication (n): communication that relies on vision (Wordnet, 2006). 2 Visual rhetoric: the use of visual techniques, such as the creation of visually ‘engaging’ characters, as a means of persuading a target audience

L’industrie publicitaire est un travail quotidien de collaboration entre deux « hémisphères » distincts : l’un de nature commercial et l’autre de nature créatif. Des individus qui favorisent des aspects logiques et rationnels se doivent de collaborer avec des individus qui favorisent des aspects intuitifs et artistiques, ce qui suscite des tensions. Cette mise en relation s’opère au travers d’un processus, que nous nommerons processus de design visuel communicationnel car il permet de relier la communication au design, approche que nous adoptons dans ce mémoire. L’industrie publicitaire s’est dotée d’outils permettant de faciliter le processus de design visuel communicationnel, dont le brief créatif. Notre recherche propose d’observer la manière dont les « commerciaux » et les « créatifs » perçoivent leur travail quotidien en agence et comment le brief créatif est réquisitionné. Nous adoptons une posture interprétative pour tenir compte de la complexité du phénomène et nous mobilisons une série d’entrevues pour répondre à nos questions de recherche. Nos questions de recherche sont les suivantes : de quelle manière les « commerciaux » et les « créatifs » négocient-ils les tensions lors du processus de design visuel communicationnel? Quels rôles le brief créatif occupe-t-il au sein de ce processus? Les résultats nous renseignent sur les transformations et les innovations qui émergent des tensions entre les « commerciaux » et les « créatifs » et sur l’importance que revêtent les caractéristiques communicationnelles du brief créatif dans le cadre du processus de design visuel communicationnel. / The advertising industry involves a daily collaboration between two ways of thinking or two hemispheres: one of commercial nature and the other of creative nature. Rational and logical individuals must collaborate with intuitive and artistic individuals, and from this collaboration emerge various tensions. In the advertising industry, this relationship operates throughout a process of visual communication design. We chose to use the term visual communication design process because it illustrates our approach in this research, an approach that joins communication and design. The advertising industry has developed tools to facilitate the visual communication process: among them the creative brief. Our research proposes to observe how “commercials” and “creatives” in the industry perceive their day-to-day work and their use of the creative brief through a series of interviews. Our questions are: in which ways do the “commercials” and “creatives” negotiate the tensions that emerges from the visual communication design process? What are the roles of the creative brief throughout this process? Our findings illustrate the transformations and innovations that emerge from the tensions between “commercials” and “creatives” and highlight the importance of the communicational characteristics of the creative brief as part of the visual communication design process.

Accompanying workbook not available in digital format / Both empirical and anecdotal evidence indicates that visual communication1 design practices implemented by designers with full colour vision often disadvantage, and sometimes endanger, colour-blind people. The thesis The Machine postulates that colour-blind people – comprising approximately 8% of males and 0.5% of females (Lewis et al., 1990) – are marginalized by such practices. It argues that this group could benefit from a design strategy that enhances the communicative potential and visibility of colour. The proposed strategy involves embedding pattern into potentially confusing colours such as red and green. The embedded pattern would function for colour-blind people as an additional clue to the identity of these colours. The thesis contends that while colour alone can be confusing for colour-blind people, patterned colour could offer a solution with a wide range of possible applications. The research aims of The Machine include: developing a system of patterned colour; creating a wordless picture book that demonstrates the effectiveness of the system; constructing a narrative around the condition of red-green colourblindness; and employing visual rhetoric2 to increase awareness of and sensitivity to colour-blindness among those with full colour vision. The design of the thesis is supported by research in a number of interrelated areas. These include the history of pattern post-1850, particularly in Western culture; precedents for patterned colour; and visual rhetoric in story-telling. The research also incorporates an analysis of the defining characteristics of ten late twentieth-century and early twenty-first-century wordless picture books. The thesis is further supported by applied research into patterned colour and visual rhetoric. The Machine aims to benefit colour-blind people, a significant minority group whose visual needs are currently inadequately met. In addition, it proposes broadening the cultural role and significance of pattern. Moreover, by incorporating informative elements usually associated with pedagogic material, it aspires to extend the boundaries of the fantasy picture book genre. 1 Visual communication (n): communication that relies on vision (Wordnet, 2006). 2 Visual rhetoric: the use of visual techniques, such as the creation of visually ‘engaging’ characters, as a means of persuading a target audience

Design is reemerging again as an active system of enquiry for cultural production with a wide ranging set of methods - not only to address short-term formal problems and limited functions, but as a discipline that is uniquely placed in its relations to other fields of visual culture, special settings and textual production. A new generation of designers are currently reassessing the positions within graphics, product design and architecture and picking up loose ends of progressive historic developments.

No description available.

<p>We make decisions every day, some with the potential for a huge impact on our lives. This process of decision-making is crucial not only for individuals but for industries, including construction. Unlike the manufacturing industry, where one can make certain decisions regarding an actual product by looking at it in real time, the nature of construction is different. Here, decisions are to be made on a product which will be built somewhere in the near future. The complex and interim nature of construction projects, along with factors like time essence, increasing scale of projects and multitude of stakeholders, makes it even more difficult to reach consensus. Incorporating VR can aid in getting an insight on the final product at the very beginning of the project life cycle. With a visual representation, the stakeholders involved can collaborate on a single platform to assess the project, share common knowledge and make choices that would produce better results in all major aspects like cost, quality, time and safety. This study aims at assessing decision-making in the earlier stages of construction and then evaluating the performance of immersive and non-immersive VR platforms.</p> <br> <p> </p>

No description available.