[pt] É notória a relevância do futebol. Praticado em âmbito mundial, envolve particular grau de participação e envolvimento emocional da população brasileira, podendo-se ainda destacar nesse contexto o futebol carioca como o mais tradicional do Brasil. O presente estudo procura desenvolver os aspectos do design nesse esporte, principalmente nas associações centenárias cariocas fundadas ao final do século XIX e início do XX, em especial aquelas do Rio de Janeiro, fortemente representativas de inúmeros torcedores brasileiros: Botafogo, Flamengo, Fluminense e Vasco. Buscamos interpretar a iconografia presente nesse domínio, bem como a dimensão simbólica corporificada na identidade visual e nos uniformes das agremiações de futebol. Sob essa perspectiva, apresentamos a importante influência do viés social e cultural, por exemplo, na caracterização das cores das principais agremiações esportivas cariocas. Neste estudo privilegiamos a noção de que o processo de construção social expresso através das cores, bandeiras e símbolos gráficos produziu um sistema de imagens identitárias extremamente importante, em detrimento da consideração de aspectos meramente técnicos e estéticos Importa analisar o sentido de certas escolhas gráficas, e o modo pelo qual estas formas produzem novos códigos, acarretando diversificação do universo material e simbólico. Mais do que respostas, esta análise pretende levantar perguntas sobre a origem de tais escolhas gráficas. Por que a maioria dos clubes de futebol é representada por um escudo? Por que os uniformes são representados por listras? Qual a articulação entre a emblemática da cidade e o esporte? Como se dá na contemporaneidade o impacto da dimensão simbólica da identidade visual e das camisas dos clubes de futebol?. / [en] The relevance of soccer to Brazilian culture is well known. It is undisputed as a national sport, and it involves a high degree of participation and emotional investment by Brazil`s population. The study presented here looks to take the sport into the field of design. I seek to interpret the symbolic dimension embodied by the visual identity and the uniforms of Rio`s soccer teams. The object of my study is the iconography that represents Rio de Janeiro`s premiere league teams: Botafogo, Flamengo , Fluminense and Vasco. In this study I will attempt to gauge the process of social construction expressed in the teams` colors, flags, and graphic elements that produced an extremely important iconographic language that goes beyond the mere technical and aesthetic scope of design. It is important to analyze the choice of certain graphic vocabularies, and the way by which these vocabularies produce a new visual code and a diversification of symbolic language. More than answers, this analysis intends to raise questions about the origin of this iconography. Why are the majority of soccer teams represented by a shield? Why do the uniforms have stripes? How do the city`s symbols relate to each teams` logos? What is the impact of the teams` symbolic dimension, logos, colors and other visual elements on contemporary society at large?.

O ensino de design, compreendendo os campos do desenho industrial e da comunicação visual, foi implementado na Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo em 1962. A inclusão dessas disciplinas no curso de Arquitetura fazia parte de um novo modelo de ensino que visava a uma formação ampla para o arquiteto. Com o propósito geral de contribuir para a consolidação dos estudos sobre as raízes do ensino paulistano e brasileiro de design, o objetivo desta pesquisa foi o resgatar, registrar e analisar a história do ensino de comunicação visual na FAU USP, apresentando personagens envolvidos, conteúdos programáticos e didáticas empregados nos anos 1960. A partir de uma abordagem qualitativa, a pesquisa contou com um extenso levantamento de dados, obtidos por meio de métodos de história oral e da microhistória, que também delinearam o âmbito de análise das informações reunidas. Como resultado, compreendeu-se que o ensino de comunicação visual da FAU USP, nos anos 1960, recebeu algumas influências internacionais, sobretudo a da escola Bauhaus. Além disso, a influência do perfil dos docentes - alguns artistas-plásticos, outros arquitetos de vertente moderna - sobre esse ensino foi determinante para os caminhos tomados e para o estabelecimento de uma certa dicotomia, que marcou o ensino da Sequência de Comunicação Visual daquela década, entre uma visão baseada na sensibilidade artística e outra na metodologia racionalista do projeto. Concluiu-se que o ensino de comunicação visual na FAU USP, balizado tanto pelas artes plásticas quanto pelo design gráfico moderno, atendeu ao objetivo da reforma do ensino feita em 1962, formando profissionais com atuação abrangente e plural. / Education in design, comprising industrial design and visual communication, was implemented at the Faculty of Architecture and Urbanism at the University of São Paulo in the year 1962. These disciplines were included in the curriculum of Architecture as part of a novel education model, with the target of qualifying professionals with a broadened vision. In this study, we rescued, recorded and analysed the history of the education in visual communication at FAU USP, as a contribution to the reconstruction of the roots of education in design in São Paulo and in Brazil as a whole. Based upon an extensive data collection and using a qualitative approach, we present historical figures, content of the disciplines, and teaching practices in the 1960s. Methods of oral history and micro-history were adopted to rescue and analyse the information obtained. We verified that the education on visual communication at FAU USP in the 1960s emerged under international influences, particularly from the Bauhaus school. In addition, some Brazilian artists and modern architects, in charge of some disciplines, exerted strong influences on the design education and established a certain dichotomy between a more artistic and a more rationalistic way of teaching in the Visual Communication sequence during that decade. We concluded that the combination of these two approaches - artistic and modern graphic design - provided the education in visual communication at FAU USP to reach the goals of the historical educational reform of 1962: training professionals with a more broad and plural vision of the design.

A pesquisa propõe uma investigação exploratória das identidades visuais flexíveis por meio de três etapas: definição de termos e classificações; investigação histórica; e estudo de casos e de processos. Na primeira fase, por meio da revisão bibliográfica, as identidades visuais são contextualizadas e conceitos, definições, termos e classificações empregados por designers e acadêmicos são apresentados; ao final, é sugerida uma proposta de terminologia e de classificação. A etapa seguinte consiste na investigação histórica das origens das marcas convencionais bem como na apresentação de indícios no design gráfico, na tecnologia e nas áreas afins que apontem para a flexibilidade nas identidades visuais. O estudo de casos exemplares ilustra o estado da arte nas identidades visuais flexíveis. Neles, são demonstradas sinteticamente questões como o grau de flexibilidade, classificação, tecnologia, método, relação entre constantes e variáveis, implementação e outros tópicos pertinentes. Por fim, são levantadas questões específicas de projeto e processo, que complementam os estudos de casos, por meio da revisão bibliográfica e de entrevistas com profissionais visando compreender as dinâmicas que envolvem a conceituação, criação e implementação de identidades visuais flexíveis. / This research proposes an exploratory investigation of flexible visual identities following three steps: definition of terms and classification; historical research; and case and process studies. Firstly, through literature review, visual identities are contextualized and concepts, definitions, terminology and classification used by designers and academics are presented; at the end, a proposal for terminology and classification is suggested. The next step consists of the historical research of the origins of conventional brands as well as the presentation of evidence in graphic design, technology, and related fields that indicate the flexibility of visual identities. The study of exemplary cases illustrates the state of the art in flexible visual identities. They synthetically demonstrate issues such as degree of flexibility, classification, technology, method, relationship between constants and variables, implementation, among other pertinent issues. Finally, specific issues of design and process are raised, which complement the case studies through literature review and interviews with professionals aiming to understand the dynamics that involve conceptualization, creation and implementation of flexible visual identities.

My thesis investigates contemporary illustrative art and tendencies occurring in the work of the youngest generation of the Czech illustrators. My objective is to bring an overview of the current forms, shapes, applications and overall state of the contemporary Czech illustration scene. The paper divides the illustration art into four categories, that are then more closely examined in individual chapters. My major focus is on the book illustration in all its current forms. This thesis contains regulatory principles that govern the standard of published illustrated materials through various recognised competitions and awards. I mention different associations and clubs that are currently active in the field of developing contemporary illustration. This occurs not only through grouping of illustrators but also through organising different events and festivals. In the didactic part this paper deals with the role of illustration in child development, specifically its natural artistic expression. This part also includes proposals of teaching materials and curriculum focused on illustration where I introduce my own designs. This appendix follows the above structure and constitutes my own project delivering authorship of visualised illustrations.

Made available in DSpace on 2016-04-26T18:16:11Z (GMT). No. of bitstreams: 1 Marta S Sarkozy.pdf: 21453006 bytes, checksum: b70887d63c5d692fdc355bd023166fff (MD5) Previous issue date: 2007-05-21 / This paper is whithin the field of visual communication, more specifically, within the graphic design of packaging. The graphic design of packaging consists in the creation of texts, informations and images printed over paper, metal, glass plastic and other laminated surfaces, in which the products are wrapped and sold. Design is a creative process guided by pre-defined concepts to attend certain strategic demands based on commercial, operational, legislative and aesthetic direction. In this exercise, pervade the simbolic and cultural associations, language, art concepts, a certain ideological bias on its project procedure, the sensible, the imagination, the technique and the science in order to compose the visual communication. The fundaments of design are based on dicotomies, such as form and function, tecnique and art, science and art, reason and intuition, objectivity and subjectivity. Observing the documents of the creative process, from the stand point of methodology of the genetic analysis from a semiotic perspective, we intend to point out that design is a mediative activity in which sensibility interacts with intelectual decisions, called by some as rational, technical or scientifical. By the registers of the creative process came from the Portuguese agencies DIVIDENDO and CONCEITO GRÁFICO, as well as the Brazilian IN DESIGN and MÜLLER CAMACHO, we ll perform a critical attendence of the connections and systems enfolded in the development of this communication which ultimate aim is to seduce and fidelize the consumer. Based on these documents, we intend to examine and compare the graphic design creative proceedings by the methodology of genetic critique. However, at the moment in which the documents show relations with culture, we need the support of Iuri Lotmans theories of culture and Edgar Morin approach concerning complexity. As we can see, the language of the visual communication of the packaging is exclusive and standardized: is a message transmitted by a fast and artificial text of culture which operates according to the consumer s logic. In this study we shall argue about the generalizations and the singularities, differences and facts in common inside the creative criterion of each graphic designer, as well as restrictions and tendencies concerning the production of the NEW. The task of a designer is to find an association between the sensible and the functional elements, in order to idividualize the language of the packaging. Based on this point of view and with the material of the angencies we intend to nvestigate in which aspect the cultural issues affect a creation of package design / Esta dissertação se insere no campo da comunicação visual, mais especificamente, do design gráfico de embalagem. Entendemos design como um processo de criação em comunicação e o design gráfico de embalagem consiste na criação de textos, informações e imagens impressas sobre superfícies de papel, metal, plástico, vidro e laminados que embalam os produtos. O design é processo de criação direcionado por conceitos pré-definidos para atender demandas estratégicas, técnicas, comerciais, operacionais, legislativas e estéticas. Em sua prática, permeiam as associações simbólicas e culturais, a linguagem, os conceitos de arte, um certo viés ideológico no discurso processual, o sensível, a imaginação, a técnica e a ciência para construir uma comunicação visual. Os fundamentos do design são baseados em dicotomias como forma e função, técnica e arte, ciência e arte, razão e intuição, objetividade e subjetividade. Observando os documentos do processo criador, pela metodologia dos estudos de crítica genética com abordagem semiótica, pretendemos evidenciar que o design é um campo de atividade de produção midiática no qual a sensibilidade interage com as decisões intelectuais, chamadas por alguns de racionais, técnicas ou científicas. Pelos dossiês de criação das agências portuguesas Dividendo e Conceito Gráfico e das brasileiras In Design e Müller Camacho, faremos o acompanhamento crítico das conexões e sistemas envolvidos na construção desta comunicação que visa seduzir e fidelizar o consumidor. Com base nessa documentação, pretendemos estudar e comparar o processo criativo do design gráfico pela metodologia da crítica de processo. Entretanto, no momento em que os documentos estabelecem relações com as culturas, solicitamos os apontamentos acerca da semiótica da cultura, propostos por Iuri Lotman e as reflexões sobre complexidade descritas por Edgar Morin. Como veremos, a linguagem da comunicação visual da embalagem é exclusiva e altamente padronizada: é um texto da cultura de comunicação rápida e artificial que opera conforme a lógica do consumo. Discutiremos as generalizações e particularidades, diferenças e pontos em comum nos critérios da criação de cada designer gráfico, restrições e tendências direcionadoras na produção do novo. O trabalho do designer é encontrar e associar os elementos sensíveis aos funcionais a fim de particularizar a linguagem de sua embalagem. Partindo dessa visão e do material de que dispomos, investigaremos as diferenças dos processos entre si e em quais aspectos as questões culturais afetam a criação

Denna studie undersöker, med hjälp av mailintervjuer, hur professionella typsnittsdesigners arbetsprocess ser ut. Detta skedde genom att svaren från respondenterna granskades, baserat på detta kunde likheter och gemensamma teman sökas. I slutändan så framträder en grov modell över hur deras arbetsprocess ser ut. Den blev generell då typsnittsdesignerna arbetar på aningen olika sätt även om det går att hitta en del likheter. När de kommer till yrket i sig så ser deltagarna ljust på framtiden, både med den tekniska utvecklingen och att det inte ser något slut för att fler typsnitt kommer skapas, då som i alla andra yrken där skapande står i fokus så finns det behov för både kontemporära tolkningar men också uppdaterande av de gamla typsnitten. / This study was constructed by using email interviews, it investigates the profession of the type designers. This was done by analyzing the answers from the interviews and searching for similarities and common themes. In the end a rough model of their work process was constructed, it became a bit general, since all type designs work a bit different, although there are some similarities. When it comes to the profession itself the participants sees a bright future, for both the technical development and that they see no end for more fonts to be created, as in all other professions where creation is in focus, there is a need for both contemporary interpretations but also updating the old fonts.

I dagens samhälle råder ett överutbud av produkter på marknaden där varje företag febrilt kämpar om att fånga kundens uppmärksamhet. Då modebranschen snurrar allt snabbare och kunden förväntar sig nya plagg i butik varje vecka, har en stark varumärkesidentitet visat sig vara av allt större betydelse . Företag inom samma bransch har en benägenhet till att producera varor som blir alltmer lika varandra gällande produktens egenskaper, utseende och pris. Då teknologins framsteg går allt snabbare ökar konkurrensen och risken finns att nylanserade produkter redan är omoderna när de introduceras för konsumenten. Den avgörande och återstående faktorn för konsumenten vid köp blir då varumärke. Märkets betydelse för varan har fått en allt större betydelse. Uppsatsen har skrivit utefter en kvalitativ och undersökande karaktär där teorier har varit grunden vilka sedan har byggts på med empiriskt material i form av intervjuer med personer ur målgruppen, marknadsförare samt anställda på Panos Emporio. Syftet är att beskriva och skapa förståelse för hur ett modeföretag i utvecklingsskede ska kunna behålla, underhålla och stärka sin varumärkesprofil med nya produktgrupper på en ny marknad. Panos Emporio har i över 20 års tid varit en av de största aktörerna inom badkonfektion. Varumärket är grundat av Panos Papadopoulos som än idag äger 100 procent av företaget. Uppfattningen som fås av oss författare som utomstående är att all företagsutveckling har baserats mer på känsla än struktur, vilket har gjort att vi ser tendens till inkonsekvens i exempelvis företagets varumärkesprofilering. De använder sig dag av tre olika logotyper som tillämpas på såväl varor som tags, men utan struktur. Genom att undersöka hur logotyp, profil och varumärke uppfattas kan en rekommendation tas fram till fallföretaget samt företag i liknande situation. Vidare måste det fastställas hur varumärket uppfattas i dagsläget, hur det ska uppfattas efter utveckling och vilka egenskaper som ska väga tyngre. Uppsatsen mening är också att minska gapet mellan hur ett varumärke samt profilering uppfattas internt och den faktiska uppfattningen.I undersökningen fick vi fram ett resultat som visade att männen och kvinnorna ur Panos Emporios målgrupp hade skilda uppfattningar om vilken logotyp som var mest tilltalande samt bäst representerar företaget. Experterna ansåg att man ska gå efter vad som är inarbetat och betonade vikten av en röd tråd i hela profileringen, vilket de tyckte saknades. Uppsatsen har lett fram till slutsatser om vad företag i utvecklingsfas bör ta med sig samt rekommendationer på hur fallföretaget Panos Emporio kan jobba vidare med sin varumärkesprofil.Today there is an oversupply of products on the market where each company has to frantically struggle to get the customer's attention. As the fashion industry is spinning faster, the result is that customers expect new clothes in the stores every week. Having a strong brand identity has therefore become more important. The logo is an important component in the brand image, and it can be based on letters or a symbol. To distinguish one t-shirt from another there is need for a mark that gives the product an identity. In the competitive fashion industry it is of great value to have a unique expression. The purpose of the thesis is therefore to evaluate Panos Emporio’s existing logos in order to find out which logo that is most suitable for the clothing collection. Theories about brand identity and consumer behavior laid the foundation for the dissertation. The thesis is based on a qualitative nature where interviews have been held with people from the target group, marketers and employees on Panos Emporio. Panos Emporio has had one of the leading roles in swimwear fashion for over 20 years. The brand was founded by Panos Papadopoulos who still owns 100 percent of the company. The feeling we get is that all business development has been based on what is suitable for the moment rather than having an organized structure. For example they are using three different logos on everything from apparel to website and tags. Overall the company’s profile shows a tendency of being inconsistent.The results showed that men and women from Panos Emporio’s target group had different opinions about the existing logos. The marketing experts thought that it is important to hold on to a logotype that is well established on the market and recognized by people. They also emphasized the importance of having a common thread throughout the company’s profile; something they thought was missing. The thesis ends with conclusions how companies with expanding business can combine their core values with a new consistent profile. Furthermore we of give recommendations to Panos Emporio how they can continue working with its brand image; where a consistent design language can create a sustainable and long-term identity. / Program: Textil produktutveckling med entreprenörs- och affärsinriktning

This bachelor degree work investigates fashion as a non-verbal form of communication by the use of prints. Prints in fashion design today are categorized as placed prints or all-over prints. This work explores new dimensions in the use of a placed print by allowing it to interact with garment and body. It strives to take the prints within fashion one step further then just been pure surface decorations. With the main inspiration in T-shirt print design, the aim is to investigate the relation between halftoned, placed prints and garment by trying to achieve a depth within the expression. The main focus in the process is to find and define the depth within the printed textile and then to be able to apply it on garments on the body. Through research in material transparency in combination with screen printing, the work strives for a 3D moiré effect while moving. The work is to be seen as a suggestion of principles for interaction between prints, garments and body and to open up for a more complex way of working with prints within fashion. The combination between the striking 3D prints and the sharp black and white halftones creates a dynamic line-up. The collection provides the viewer with recognisable graphic pictures and elements as well as more abstract prints through layering.In this work it is found a possible technique to allow a message in a print to be communicated stronger. Through layering the printed textiles a new dimension were added to the expression in the motives and garments when interacting with the body. The continuation of this could be to try this effect with different motives and messages to be told. An interesting point of view would be to start with the viewer or receiver rather then the designers personal development in the project. It could possibly be as simple as creating a traditional T-shirt print with the message to communicate. Another alternative could be to carry out the communication of the motive in a whole garment and in how different garment types meet each other. / Program: Modedesignutbildningen

Esta pesquisa analisa livros de literatura quanto à adequação do projeto gráfico para leitores de terceira idade. Foi realizada uma revisão bibliográfica abordando os aspectos do design gráfico e do design do livro, as questões de leitura, legibilidade, lei-turabilidade e tipografia. Durante esta etapa foram abordados o envelhecimento popula-cional brasileiro, as características e os projetos voltados à terceira idade. Após esta revisão, a pesquisa se dividiu em duas etapas: a primeira consistiu na análise de livros de literatura expostos em livrarias e a possibilidade quanto ao seu aspecto gráfico-visual de serem lidos confortavelmente por pessoas de terceira idade e, na sequência, a percep-ção de leitores desta faixa etária sobre estes livros. Após estes levantamentos, a pesquisa buscou elementos para o desenvolvimento de projetos gráficos de livros voltados para o público de terceira idade e a realização de um protótipo. O protótipo foi apresentado aos leitores de terceira idade para responder ao problema da pesquisa. Como resultado, são indicados parâmetros para o projeto e design gráfico de livros voltados para os leitores de terceira idade. / This study analyzes the literature books about the adequacy of graphic design for elderly readers. We performed a literature review, covering aspects of graphic design and book design, the issues of reading, legibility, readability and typography. During this stage we have addressing the aging Brazilian population, the characteristics and projects aimed for old people. After this review, the research was divided into two stag-es: the first consisted in the analysis of literature books displayed in bookstores, and the possibility for seniors to read them comfortably on its appearance and visual graph, and following the perception of readers of this age about these books. After these surveys, the research sought to develop elements of graphic design of books aimed at the elderly and public performance of a prototype. The prototype was presented to senior players so that they answer to the research problem. As a result, parameters are indicated for the design and graphic design of books aimed to elderly readers.

The purpose of this paper is to explore specific works that I have created as it relates to digital art and design. My works include abstract, organic objects that exist within surrealistic environments. First, I explain the dynamics of the imagery that has emerged from my career in broadcast television, my coursework in the Department of Art and Design at East Tennessee State University, and the works of fantasy, surreal, and abstract artists. In conclusion, the images discussed impose an idea of abstraction and surrealism with a sense of force, motion, life, and dynamic action.