Purpose – The purpose of this research is to investigate the influence of visualelements in sports advertisements on consumer attitudes and purchasing decisions.This paper empirically demonstrates a significant relationship between visualelements, including ambassadors, color, effects, typography, and design, and theirimpact on consumer attitudes and purchasing choices. Design / Methodology / Approach – The research is based on a sample of 229consumers and on a quantitative approach using thematic analysis and surveymethods. A deductive analytical research design is employed, with respondentsrating the impact of various visual elements on their purchase intentions using a5-point Likert scale. The data is analyzed using descriptive statistics and regressionanalysis (Cronbach alpha). Findings – This paper identifies significant visual components in sportsadvertising that affect consumer attitudes and purchase decisions. Ambassadors arefound to be the most impactful visual element, followed by color, effects, andtypography, while design shows a weaker correlation. The regression analysisreveals that visual elements moderately correlate with consumer attitudes and thatimproved consumer perceptions of advertisements lead to higher purchaseintentions. Practical implications – This research highlights the significant impact of visualelements, particularly ambassadors, in sports advertisements on consumer attitudesand purchase decisions. Marketers should prioritize well-known ambassadors andintegrate cohesive visual elements to enhance appeal, while also addressingconsumer values like sustainability to bridge the gap between positive attitudes andactual purchases. Leveraging advanced technologies for immersive experiences canfurther boost engagement and drive sales. Originality/value – This paper provides an impartial analysis of visual elements insports advertisements, rather than focusing on a single brand.

Horror, one of the most popular genres of entertainment, can be quite hard to get right. This report explores the visual subject of psychological horror in games, aiming to answer the following questions: How is the genre handled in movie production? How have previous game developers done this, both for bigger productions as well as indie games? How well did the chosen movies and games manage to translate the horror feeling into the visuals? The chosen method to determine this is image analyses and surveys. The results showed that there are not many differences between how the genre is handled in movies compared to games, though there are a few. Results from the surveys showed that games are more often perceived scary and disturbing on a higher degree than movies. / Skräck, en av de mest populära genrerna inom underhållning, kan vara ganska svår att få till. Den här rapporten utforskar de visuella ämnenena inom psykologisk skräck i spel, utifrån följande frågeställningar: Hur hanteras genren inom filmproduktion? Hur har tidigare spelutvecklare genomfört detta, både för större produktioner och för indiespel? Hur väl har de utvalda filmerna och spelen lyckats översätta skräckkänslan i det visuella? Den valda metoden för att fastlägga detta är bildanalyser och enkätundersökningar. Resultaten visar att det inte finns många skillnader mellan hur genren hanteras inom film jämfört med spel, även om det finns några. Resultat från enkätundersökningarna visar på att spel oftast ses som läskigare och obehagligare på en högre nivå än filmer.

Submitted by FABIANA DA SILVA FRANÇA (fabiana21franca@gmail.com) on 2018-02-22T13:13:47Z No. of bitstreams: 1 Arquivo Total.pdf: 3421973 bytes, checksum: db60176d1cf41839ed3a79cfeeb7ccca (MD5) / Made available in DSpace on 2018-02-22T13:13:47Z (GMT). No. of bitstreams: 1 Arquivo Total.pdf: 3421973 bytes, checksum: db60176d1cf41839ed3a79cfeeb7ccca (MD5) Previous issue date: 2017-06-30 / This research aims to identify and analyze, from a phenomenological approach as well as interviews, some visual elements of the Coco de Roda do Ipiranga New Quilombo, artistic and cultural manifestation that occurs in the municipality of Conde, Paraíba. The elements that we identify in the course of research and that will be approached are: the hype; The coconut wheel; The bow and the garments. It is important to consider that the Coco de Roda here studied and debated, in its visual elements, is a form of resistance and artistic and cultural expression of great relevance for the society of Paraiba and for the country, considering its tradition and musical richness, of dance , Of the visual elements, in short, of all living and latent culture. Thus, by emphasizing and discussing the visual elements, we intend to contribute, on the one hand, to the scientific knowledge and knowledge present in the University, particularly for the fields of visual arts, culture and anthropology and, on the other hand, to strengthen the idea And the conviction that it is a significant cultural manifestation for society and, for the moment, for cultural public policies at the local, regional and national levels. / Esta pesquisa objetiva identificar e analisar, a partir de uma abordagem fenomenológica bem como de entrevistas realizadas, alguns elementos visuais do Coco de Roda do Novo Quilombo do Ipiranga, manifestação artístico e cultural que ocorre no município do Conde, Paraíba. Os elementos que identificamos no percurso de pesquisa e que serão abordados são: o bombo; a roda de coco; a umbigada e as vestimentas. Importa considerar que o Coco de Roda aqui estudado e debatido, em seus elementos visuais, é uma forma de resistência e expressão artístico e cultural de grande relevância para a sociedade paraibana e para o país, tendo em vista sua tradição e riqueza musical, de dança, dos elementos visuais, enfim, de toda a cultura viva e em latência. Assim, ao ressaltar e discutir os elementos visuais pretende-se contribuir, por um lado, para os conhecimentos científicos e saberes presentes na Universidade, em particular para os campos das artes visuais, cultura e antropologia e, por outro, para o fortalecimento da ideia e convicção de que trata-se de uma manifestação cultural significativa para a sociedade e, desde logo, para as politicas publicas culturais em âmbito local, regional e nacional.

Syftet med denna studie är att öka förståelsen angående hur kvinnor i åldrarna 20 till 30 år uppfattar visuella- och verbala element i modeföretags gröna marknadsföring. Speciellt den hållbarhetskommunikation som modeföretag använder för att marknadsföra sina produkter som hållbara. Studien avser att bidra till en ökad förståelse för reklambilders betydelse för att främja framtida marknadsföringsstrategier. Tidigare forskning visar att grön marknadsföring blivit allt vanligare och flertalet reklamer innefattas av liknande visuella- och verbala element. Färgen grönt är ett tydligt exempel på ett element som används inom grön marknadsföring för att skapa en koppling till hållbarhet. På grund av dessa liknande element kan konsumenter ha svårt att se vilken grön marknadsföring som gör legitima gröna påståenden och vilka som inte gör det. Det saknas dock förklaring till varför konsumenterna tolkar den gröna marknadsföringen på detta sätt och varför konsumenter uppfattar de olika elementen som trovärdiga eller inte. Inom studien kommer teorin symbolisk interaktionism användas som ett sätt att förstå vilka bakomliggande meningar eller betydelser som visuella- samt verbala element har. För att baserat på interaktion och definition skapa en gemensam definition. Studien är av kvalitativ metod och utförs med 3 stycken fokusgrupper med urvalet kvinnor i åldern 20-30. Fokusgrupperna fick se reklambilder med ett hållbart budskap från modeföretag som valts ut baserat på visuella- och verbala elementen som framträder inom bilderna. Respondenterna fick därefter frågor som de gemensamt diskuterat och reflekterat över. Resultatet visar att visuella element skapar en känsla som ger tydligare koppling till hållbarhet än logiken bakom verbala element. Denna studie ger en ökad förståelse för varför vissa element, exempelvis naturnära miljöer och färger skapar tydliga kopplingar till hållbarhet än andra. Studien visar även på hur situationen, interaktionen inom grupperna samt framträdande symboler inom bilderna påverkar. Förslag till fortsatta studier kan vara en utveckling av resultatet från denna studie. Resultatet visar på att interaktionen är ett effektivt sätt att öka kunskap, men har inte kunnat konstateras på grund av avvikande från studies syfte. / The purpose of the study is to increase understanding of how women between the ages of 20 and 30 perceive visual- and verbal elements in fashion companies' green marketing. In particular the sustainability communication that fashion companies use to market their products as sustainable. The study aims to contribute to an increased understanding of the power of the advertising image in marketing. Previous research shows that green marketing has become increasingly common and most advertisements include similar visual- and verbal elements. The color green is an example of an element used in green marketing to create a link to sustainability. Because of these similar elements, consumers may find it difficult to see which green marketing is making legitimate green claims and which are not. However, there is no explanation as to why consumers interpret green marketing in this way and why consumers perceive the various elements as credible or not. In the study, the theory of symbolic interactionism will be used as a way of understanding the underlying significance or meanings of visual and verbal elements. To create a common definition based on interaction and definition. The study is of a qualitative method and is performed with 3 focus groups with a sample of women aged 20-30. The focus groups got to see sustainability communication from fashion companies that were selected based on the visual and verbal elements that appear in the images. The respondents were then asked questions that they jointly discussed and reflected on. The results show that visual elements create a feeling that provides a clearer connection to sustainability than the logic behind verbal elements. This study provides an increased understanding of why certain elements, such as environments close to nature and colors, create clear connections to sustainability than others. The study also shows how the situation, the interaction within the groups and prominent symbols within the images affect. Suggestions for further studies may be a development of the results from this study. The results show that the interaction is an effective way to increase knowledge, but could not be ascertained due to deviations from the purpose of the study.

This thesis compares the different concepts of game narrative and traditional narrative, and aims to explore and analyze the relationship between visual elements and game narrative in video games. Game narrative is an emerging narrative based on digital media. It can not only include stories from traditional narratives, but also convey narratives through the virtual environment and mechanisms of games. This thesis discusses the concepts of traditional narrative and game narrative from the basic concepts of narrative, and lists different visual narrative elements and video games of different narrative types on this basis. In addition, this thesis designs a study that includes different dimensions of immersion to investigate the impact of narratives conveyed through visual elements on player immersion.

Sociala medier är ett fenomen som växer sig större och blir alltmer förekommande världen över. En av de mest använda plattformarna är Instagram där människor genom bilder kan dela med sig av sin vardag och där företag får chansen att sprida sitt varumärke genom en visuell kommunikation. Idag är det mer utmanande än någonsin för företag att sticka ut med sina budskap på en marknad som blir alltmer mättad och det ligger stor vikt i att särskilja sig från sina konkurrenter. En av alla de branscher som detta berör är inredningsbranschen, där de visuella delarna är en viktig pusselbit för att lyckas inspirera och locka nya, samt nuvarande konsumenter på en digital marknad. Denna studie undersöker därför vilka visuella element i inredningsbilder från inredningsföretag inriktade mot en kundgrupp från Skandinavien och Norden på plattformen Instagram, som tilltalar och väcker mest intresse hos konsumenter samt hur dessa visuella element kan användas i praktiken. Syftet med studien är att studera vilka visuella element i inredningsbilder publicerade av inredningsföretagen Ellos, Rum21, Hemtex och Royal Design, som tilltalar den valda målgruppen; kvinnor i åldrarna 19–30 år, hur dessa företags visuella språk ser ut, samt om företagens intentioner stämmer överens med vad målgruppen upplever som tilltalande. För att besvara detta används teorier som semiotik, visuell retorik, digital marknadsföring, visuell kommunikation samt identitet.Studien har en kvalitativ ansats och har genomförts med bildanalyser på fyra olika bildmaterial, där ett inlägg per företag har valts ut. Studien har även genomförts med fem semistrukturerade intervjuer med den valda målgruppen kvinnor i åldrarna 19–30 år. En inledande enkätstudie utfördes och låg som grund för resten av arbetet. Analys av det utvalda bildmaterialet tillsammans med den tematiska analysen av de semistrukturerade intervjuerna visar att de främsta visuella elementen i inredningsbilder som tilltalar och väcker mest intresse hos den valda målgruppen är färgskalan, ljuset i bilden, den fotografiska vinkeln samt val av material. Dessa visuella element påverkar i hög grad vad konsumenterna får för associationer och upplevelser, vilket i sin tur bidrar till känslan som bilden förmedlar. Dessa bör användas samt implementeras på rätt sätt för att tilltala, där studien visar att företagens visuella språk till viss del stämmer överens med vad som tilltalar målgruppen i en visuell kommunikation. Den bristande aspekten ligger i att inredningsföretagen inte alltid har tillräckligt med insikt i vad konsumenterna kommer att associera och känna kring de valda visuella elementen samt dess kontext. Detta resulterar i att konsumenternas upplevelse av bilden inte speglar den känsla som företagen ämnar att förmedla. Detta leder vidare till att de visuella elementen förvirrar budskapet snarare än att förstärka det. Genom att använda de ovan nämna visuella elementen på rätt sätt, i kombination med varandra, så kan inredningsföretag stå ut i mängden där de lyckas tilltala samt inspirera konsumenten genom sina inredningsbilder. / Social media is a growing phenomenon that is becoming more prevalent around the world. One of the most widely used platforms is Instagram, where people can share their everyday lives through photos, and where companies can spread their brand through visual communication. Today, it is more challenging than ever for companies to stand out with their message in a market that is becoming increasingly saturated, and it is important for companies to differentiate themselves from competitors. One of the many industries that is affected by this is the interior design industry, where the visual elements are an important piece of the puzzle to successfully inspire and attract new and existing consumers in a digital market. This study therefore investigates which visual elements in interior design images from interior design companies on the platform Instagram, targeting a customer group from Scandinavia and the Nordics, that consumers experience as most appealing. The study also investigates in where they create the most interest among consumers and how these visual elements can be used in practice. The aim of the study is to investigate which visual elements in interior design images published by the interior design companies Ellos, Rum21, Hemtex and Royal Design, that is the most appealing to the selected target group of women aged 19-30 years, what the visual language of these companies looks like and whether the companies' intentions match what the selected target group finds appealing. To answer this question, theories of semiotics, visual rhetoric, digital marketing, visual communication, and identity are used.The study has a qualitative approach and has been carried out trough analysis of four different interior images, where one post per company has been selected. The study has also been conducted with five semi-structured interviews with the target group of women aged 19-30 years. An initial survey was carried out and formed the basis for the rest of the work. Analysis of the selected visual material together with the thematic analysis of the semi-structured interviews shows that the main visual elements of interior design images that appeal to and arouse the most interest in the selected target group, are the color scale, the light in the image, the photographic angle, and the choice of materials. These visual elements greatly influence the associations and experiences for the consumers, which in turn contribute to the emotion conveyed by the image. These should be used and implemented in the right way to appeal, where the study shows that the visual language of companies is to some extent consistent with what appeals to the target audience in a visual communication. The missing aspect lies in the fact that interior design companies do not always have enough insight into what consumers will associate and feel about the chosen visual elements, as well as the chosen context. As a result, consumers' experience of the image does not reflect the feeling that the companies intend to convey. This further leads to the visual elements confusing the message rather than reinforcing it. By using the above-mentioned visual elements in the right way, in combination with each other, interior design companies can stand out from the crowd where they manage to appeal to and inspire the consumer through their interior design images. / <p>Examensarbetet är utfört vid Institutionen för teknik och naturvetenskap (ITN) vid Tekniska fakulteten, Linköpings universitet</p>

Om ‘geletterd’ te wees, beteken letterlik die vermoë wat die mens het om te kan lees en skryf. Dit kan ook op die vermoë dui om tekens, behalwe woorde, te kan lees, nl. gebare en beelde. In die samelewing word die mens vandag aan baie visuele elemente blootgestel, baie meer as slegs die gedrukte woord – in koerante, tydskrifte, televisie, advertensies, spotprente, strokiesprente, musiekvideo’s, die internet, ens. Om visueel geleterd te wees, is ‘n dus ‘n belangrike vaardigheid wat die mens of in hierdie geval, die leerder, moet aanleer om onderskeidend na die visuele te kan kyk. In hierdie opsig lê die verantwoordelikheid by die onderwyser, en in ‘n groot mate die taal-onderwyser om die leerders die vaardighede wat nodig is om krities en denkend te kan waarneem, aan te leer en te ontwikkel. Visuele geletterdheid is dan die vermoë om te sien, te verstaan, om grafies te dink, te skep en te kommunikeer. In hierdie geval sal die visueel geletterde persoon in staat wees om krities na enige beeld te kyk om dít wat die kunstenaar vir die kyker wil deurgee, te kan ontleed en vertolk. Hierdie vaardighede kan deurgaans op die verskillende visuele elemente toegepas word, nl. foto’s, prente, tekeninge, grafiese kunsvorme soos spotprente, strokiesprente en illustrasies, films, kaarte, ens. Al hierdie visuele elemente stel inligting vry wat die kyker moet kan vertolk. Visuele geletterdheid gee dus die kyker die geleentheid om idees en inligting i.v.m. voorgehoue beelde in konteks te plaas en te bepaal of dit geldend is of nie. Visuele geletterdheid vereis meer as een vaardigheid. Soos by die tradisionele geletterdheid waar dit slegs ‘n vereiste is om woorde en sinne te kan ontleed, maar om met begrip te lees, is ‘n verdere vaardigheid wat verkry moet word. Hier help die onderwyser die leerder om nie net woorde en klanke te onderskei nie, maar te verstaan wat hulle lees. Hierdie vaardigheid sluit ‘n breë woordeskat en kritiese denke in. Hiervoor gebruik die onderwyser verskillende strategieë om by sy uiteindelike doelwit uit te kom, nl. om die leerders kontekstuele begrip teenoor dit wat hulle lees, te laat verkry. Die eerste vlak van visuele geletterdheid is die basiese identifisering van elemente in ‘n prent, foto of grafiese uitbeelding. Die vaardighede wat hiervoor nodig is, is fyn waarneming, maar terselfdertyd die begrip van dít wat gesien word ook in verhouding met ander elemente. Dit gee aanleiding tot kritiese denke, wat noodsaaklik vir die leerder is om afleidings en analisering uit die gegewe visuele te kan maak. Dit sal ook vir die leerder help om uit die oorvloed inligting waarmee hy daagliks op webtuistes en tekste wat aan hom voorgehou word en mee gekonfronteer word, betekenis te vind. Uitkomsgebaseerde Onderwys wat ten doel het om kritiese denke by leerders aan te wakker en te ontwikkel, kan die vaardighede in hierdie studie met vrug toepas. ENGLISH : Literacy literally means the ability of a human to read and write. It can also indicate the ability to read and interpret signs other than words - for example actions and images. Today in civilised society, mankind is exposed to a multitude of visual elements, so much more than only the printed word - in newspapers, magazines, on television, in advertisements, cartoons, comic strips, music videos, the internet: - the list is endless. To be visually literate is an important skill that man, in this case the learner, has to master to be able to look at the visual and distinguish differences in meaning. In this regard, the responsibility lies with the Education department and especially the language teacher. Learners have to be taught the skills to evaluate thoughtfully and critically and to be led to the development of this skill. Visual literacy is the skill to see, understand, think, create and communicate graphically. The visually literate person will be capable of assessing any image critically as well as analysing and interpreting what the artist wanted the viewer to know. These skills can be applied to any visual material - photo's, pictures, drawings and graphic art forms like cartoons, comics, illustrations, films and maps. All these visual elements give information that the viewer must be able to analyse. Visual literacy grants the viewer the opportunity to place ideas and information, relating to an image, in context and to evaluate whether those ideas and information are relevant. Visual literacy demands more than just one skill. Like traditional literacy there is one skill to analyse words and sentences and to read with comprehension, an additional skill must be mastered. The teacher helps the learner not only to identify words and sounds, but also to understand what he reads. This competence includes a wide vocabulary and critical thinking skills. The teacher uses different strategies to achieve his ultimate goal - to have learners gain contextual understanding of their reading. The first level of visual literacy is the basic identification of elements in a picture, photograph or graphic image. Here the necessary skills are careful observation as well as comprehension of what is seen in relation to other elements. This develops critical thinking which is essential for the learner to make deductions from and analyse the given visual material. It will also help the learner to make relevant meaning of the flood of information that he is confronted with in cyberspace and visual texts on a daily basis. Outcomes Based Education, which has as its goal the creation and development of critical awareness in learners, can use the skills explained in this study, with great success. / Thesis (DLitt)--University of Pretoria, 2011. / Afrikaans / unrestricted

El objetivo de esta investigación es conocer el grado de influencia de los elementos visuales, verbales y beneficios del packaging en la decisión de compra. Para dicho estudio se consideran los elementos visuales asociados al color, las imágenes, gráficos, forma y tamaño, los elementos verbales como el nombre, los ingredientes y la información en el packaging, asimismo, los beneficios como funcional, social, emocional y ambiental. Para comprobar las hipótesis propuestas se utilizó un cuestionario (n = 250) para determinar el nivel de influencia de los elementos. Los datos se analizan utilizando IBM SPSS Statistics. La investigación contribuye a una comprensión más amplia del uso de los elementos del packaging y el grado de influencia de estos en la decisión de compra. / The objective of this research is to know the degree of influence of the visual and verbal elements and advertised health benefits of packaging in purchase decisions. For this study, the visual elements are associated with color, images, graphics, shape and size. Verbal elements such as the name, ingredients and information on the packaging are considered, as well as advertised benefits such as functional, social, emotional and environmental. To check the proposed hypotheses, a questionnaire (n = 250) was used to determine the level of influence of the elements. The data is analyzed using IBM SPSS Statistics. The research contributes to a broader understanding of the use of packaging elements and the degree of influence they have on the purchase decision. / Trabajo de investigación

Cada día existen más productos en diferentes categorías del mercado con grandes similitudes. La poca diferenciación entre el reconocimiento de las marcas de estos contribuye al rápido cambio de intención de compra entre productos de la competencia. Por ello, es relevante que el diseño del packaging sea el correcto y garantice la atención del consumidor y su intención de compra hacia el producto objetivo. El packaging está compuesto por elementos visuales como color, forma, tamaño, imágenes y gráficos y elementos verbales como la información del producto y el lenguaje. Además, cabe resaltar que el presente trabajo de investigación consta de un estudio de tipo cuantitativo, donde se realizaron encuestas a una muestra de 250 personas de nuestro público objetivo en Lima Metropolitana. / Every day there are more products in different categories on the market with great similarities. The little differentiation between the recognition of their brands contributes to the rapid change of purchase intention between competing products. For this reason, it is important that the packaging design is correct and guarantees the consumer's attention and purchase intention towards the target product. Packaging is made up of visual elements such as color, shape, size, images and graphics, and verbal elements such as product information and language. In addition, it should be noted that this research work consists of a quantitative study, where surveys were conducted on a sample of 250 people from our target audience in Metropolitan Lima. / Trabajo de investigación

La investigación tiene como objetivo analizar la función de los elementos visuales del gerontodiseño para comunicar información nutricional en los suplementos nutricionales dirigidos a los adultos mayores. La hipótesis propone que los elementos necesarios para la eficiente comunicación de una información nutricional completa son la tipografía, la paleta de colores, la gráfica visual y la forma del empaque. La metodología empleada consistió en un análisis documental, mediante la selección de dos marcas, Glucerna y Ensure, para el adulto mayor analizando el contenido de la información nutricional relacionado con los principales elementos del gerontodiseño. Adicionalmente, se realizó una encuesta a un grupo de 25 adultos mayores que consumen suplementos nutricionales, así como una entrevista a un experto que ha trabajado con marcas similares. Los principales resultados obtenidos, de acuerdo con los elementos del gerontodiseño, son que la tipografía presenta una fuente de letra san serif cumpliendo con la función de otorgar mayor legibilidad de la información; el contraste de color utilizado contribuye a diferenciar los elementos presentes; la imagen principal posee un movimiento orgánico para mostrar de manera más realista el producto a consumir y la forma de la estructura del empaque, al ser cilíndrica, favorece al adulto mayor a sostenerlo con firmeza y a proteger el contenido del interior. Se concluye que ambos productos toman en consideración los elementos del gerontodiseño en el diseño de su empaque, con lo que cumplen funciones esenciales para que el adulto mayor tenga la capacidad de poder visualizar la información que brinda el producto. / The research aims to analyze the role of visual elements of gerontodesign in communicating nutritional information in elder´s nutritional supplements. The hypothesis proposes that the necessary elements for an efficient communication for a complete nutritional information are typography, color palette, visual graphics and shape of the package. The methodology used for the investigation was a documentary analysis, where two brands of elder´s nutritional supplement (Glucerna and Ensure) were selected to observe the way the nutritional information is exposed in comparison to the main elements of gerontodesign. In addition, a survey was taken to group of 25 elders who consume nutritional supplements, plus an interview with an expert who has worked with similar brands. The main results obtained, according to the elements of the gerontodesign, is that the typography use in this products is a san serif font for a better reading of the information, the contrast of color is use to show the different elements present in the product, and the main image has an organic movement to show a more realistic way the product could be consumed and the shape of the structure of the package is cylindrical to favor the elderly to hold it better and to protect the content inside. It is concluded that both brands take into consideration the elements of gerontodesign for their packing design, because grown people may present certain difficulties that must be taken in consideration in the elaboration of the packaging. / Trabajo de investigación