Made available in DSpace on 2016-04-26T18:17:18Z (GMT). No. of bitstreams: 1 Antonio Roberto Chiachiri Filho.pdf: 25092050 bytes, checksum: dfeddcfab2dd5391319985ff762374b6 (MD5) Previous issue date: 2008-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the context of communication and culture, this study is focused on the resources used by photographers specialized in gastronomic photography. The so mentioned resources are responsible for the effects of synesthetic suggestion produced in the message recipient, to the extent of exciting their appetite at times more strongly than a real dish would do. The aim of this work is to show how a flat and bidimentional sign can be able to do this. We are aware that, in this domain, photographic scenario actually concerns a number of simulating resources and powers capable of insinuating delights, triggering and even intensifying psychophysical effects, such as whetting the appetite and stimulating the senses, also causing in an interpreter physical reactions (biophysical, neurosensory, behavioral, etc), such as salivating or imaginably tasting the unique flavor of a certain food according to their previous gustatory background. Based on interviews carried out with professionals working in the production and preparation of gastronomic photography, on analyses of three photographic reproductions from press media specialized in gastronomy and also on bibliographical studies, we believe that this research, carried out under the perspective of Charles Sanders Peirce s semiotics, based on an analysis method taken from Lucia Santaella s work and studies on synesthesia phenomenon, can contribute to the comprehension of a still unexplored aspect of the art of photographic communication, namely, trying to understand how the language of this type of sign, through which gustatory pleasures are evoked by visual message, is structured and works / No contexto da comunicação e cultura, esta pesquisa está voltada para os recursos utilizados pelos fotógrafos especializados na fotografia gastronômica, recursos estes responsáveis pelos efeitos de sugestão sinestésica produzidos no receptor, a ponto de excitar-lhe o apetite por vezes de modo mais intenso do que um prato o faria. Pretendemos mostrar como um signo chapado, bidimensional, pode dar conta disso. Sabemos que o cenário fotográfico, neste domínio, na realidade, envolve uma série de recursos e de poderes simuladores capazes de insinuar delícias, engatilhar e mesmo intensificar efeitos psicofísicos como o despertar do apetite, aguçar os sentidos desencadeando num intérprete, também, reações fisiológicas (biofísicas, neurossensoriais, comportamentais etc), tais como salivar ou empreender imaginativamente o sabor peculiar daquele alimento segundo seu prévio repertório sígnico gustativo. Por meio de entrevistas realizadas com profissionais de produção e elaboração fotográfica gastronômica, análises de três reproduções fotográficas de mídias impressas especializadas em gastronomia e estudos bibliográficos, cremos que esta pesquisa, elaborada à luz da semiótica de Charles Sanders Peirce, apoiada em uma metodologia de análise extraída da obra de Lucia Santaella e em estudos sobre o fenômeno da sinestesia, poderá contribuir para a compreensão de um aspecto ainda pouco explorado da arte da comunicação fotográfica, a saber, o de tentar perceber como se estrutura e age a linguagem deste tipo de signo, por meio do qual os prazeres gustativos são evocados pela mensagem visual

Uppmärksamhet på miljön och att uppnå ett mer hållbart sätt att leva har ökat bland allmänheten och företag under flera år. Denna artikel har som ändamål att undersöka hur ett företag kan förmedla sina värderingar om hållbarhet inte bara genom ord och texter utan också genom grafisk design och visuell kommunikation. Artikeln djupdyker i grafiska profiler och identiteter och undersöker hur man med hjälp av dem kan visuellt uttrycka ett företags fokus på och värderingar kring hållbara tillverkning, förpackning samt hållbarhet för företaget och dess anställda. Artikeln bidrar med forskning som kan hjälpa designers att kommunicera specifika värderingar, i denna kontext hållbarhet, genom grafik samt visuella element, och dessutom hur man potentiellt kan förhålla sig till ämnen som “greenwashing”. Resultaten baseras på relevant litteratur i området, information samlad ifrån metoder som fokusgruppdiskussion och internetenkät, samt en visuell gestaltning i form av en grafisk profil för ett mock-up företag. / Awareness of the environment and achieving a more sustainable way of life has increased among the general public and companies for several years. The purpose of this article is to investigate how a company might convey its values ​​of sustainability not only through words and texts but also through graphic design and visual communication. The article delves into graphic profiles and brand identities and examines how they can be used to visually express a company's focus on, and values ​​around sustainable manufacturing, packaging, and sustainability for the company and its employees. The article contributes research that could help designers, in the context of sustainability, deliver specific messages and values through graphics and visual elements, as well as how one can potentially approach topics such as "greenwashing". The results are based on relevant literature in the area, information gathered from methods such as focus groups and surveys, as well as a practical design in the form of a graphic profile for a mock-up company.