No description available.

This research has two primary aims, both of which relate to a study of graphic design methods within the field of popular culture. The first aim is to identify the visual codes which appear in the sleeve designs of a broad selection of UK punk seven inch singles released between 1976 and 1984, and to analyse these in relation to a number of different punk sub-genres and audience groups. Sleeves are mapped stylistically, geographically and chronologically to show the evolution of a range of distinct design strategies and the diasporic effect on the development of punk in the wider regions of the UK. The documentation of these graphic traits reveals the ways in which distinct patterns within punk’s visual language evolved and eventually became entrenched over time. The second aim is the development of a transferable, theoretical and practical method for characterising the formal properties of a range of graphic material. A number of print-based and interactive visual matrices accompany the written thesis, as a key component of the research methodology. In this way, the relationship between graphic design, time and place, and audience is made clear, while the interactive display allows for a more complex range of textual information to be shown, along with the opportunity to review links between sound and visual form. Visual material extended from this research was exhibited successfully in Southampton, London and Blackpool during the spring and summer of 2007, and a number of public talks were given by the author. The major contribution to new knowledge and understanding is in the development of an analytical methodology that has focused on punk graphics but which could be adapted to the study of other graphic artefacts related to visual manifestations of youth culture in the late 20th century and beyond.

No description available.

No description available.

No description available.

No description available.

No description available.

Approved for public release; distribution in unlimited. / The relational database model has become the most popular and widespread database model. Most current database systems are based upon or related to -he relational model. However, the relational model is beset with significant limitations, pitfalls and deficiencies. The relational model can be substantially improved with graphical interfaces. To this end, the Graphics Language for Accessing Database (GLAD) can provide easy to use and learn graphics interfaces for the relational model. Data structures and algorithms for GLAD will be presented to extend the relational model. / http://archive.org/details/datastructuresal00gren / Captain, United States Marine Corps

This document is written from the perspective of the Oasis Link community, a group of dissidents who have resettled in the Mojave Desert sometime in the near future. It is a speculative design document. Surface is what is visible. It’s the crust of the earth and the face of a meteorite—the coat of a jackrabbit and the waxy skin of a Mojave Prickly Pear. Surface is superficial, but it also reflects and defines the underlying structure of something—it makes the hidden visible.

Communication design, as a significant tool for sustainable social advocacy, is still under-explored both academically and within creative practices worldwide. In a developing country like Pakistan, the role of social advocacy as an effective tool for social change is ambiguous. This practice-led research aims to redress this imbalance by exploring the development of graphic communication design approaches (GCDs) for social advocacy, in response to a low Pakistani literacy context. The investigation presents a contextually responsive GCD model for design development (Fig3a: 13), as a critical design framework, for synthesising graphic languages in Pakistan. This is presented as an alternative non-traditional communication approach, in response to contextual constraints (socio- cultural, literacy levels and/or available resources) in Rawalpindi, Pakistan. The practice asserts contextually driven communication design approaches for sustainability, and it also contests the effectiveness of universal design approaches in culturally diverse contexts. Using a case study approach, a semiotic analysis of three forms of Pakistani graphic media, namely Lollywood billboards, Pakistani truck art and political campaign posters, is undertaken. As a mapping stage, this explores the development of vernacular communication systems and visual codes to advance effective graphic languages in Pakistan, while a simultaneous review of the literature and practice supports the case studies. However, the analysis relies primarily on a pilot study, contextual interviews and collaborative design projects, with Pakistani truck and billboard artists, to identify critical graphic frameworks operative in the Pakistani visual context. This leads ultimately to the final participatory design-led synthesis stage, which co-designs social advocacy interventions in the low- income community of Dhok Chaudrian, Rawalpindi. The interventions address the major issue of open garbage dumps, and the co-design approach highlights the significance of communication design practice evolving as a sustainable social engagement tool in response to a specific issue in a specific context. This thesis is organised in four major sections. Chapter One introduces the research aims, structure and organisation of the thesis. Chapter Two reviews the context and identifies gaps in graphic communication design theory and practice in a social context, before it grounds the research in the Pakistani context. Chapter Three maps the Pakistani visual vernacular through a case study analysis, a pilot study and three collaborative design projects in the cities of Lahore and Rawalpindi. This establishes critical communication design frameworks as a rhetorical design framework (pg. 88) and contextual GCD principles (pg.77) in Pakistan, which are then tested in the proceeding final synthesis stage. Chapter Four entails the design synthesis, which involves testing and evaluating previously developed critical frameworks through co-design sessions in the Dhok Chaudrian community, Rawalpindi. This chapter focuses specifically on community participation as a tool to inform the development of effective graphic languages for design sustainability. Co-design sessions, as an interaction prototype, are evaluated for short-term impacts in terms of engagement, with custom- designed communication tools for a low-literacy target audience. As for resources, this research draws on contextual interviews, collaborative design projects, contextual observations and design evaluations, all of which are supported by published material. The research-led design process is systematically documented as design taxonomy, to be valued as a transferable model of communication design practice. Organisations, artists and designers, with similar research or practical ambitions, can take away the underpinning principles from this research practice and locate them within their own respective practices.