Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 99-101).

One in Four is an ad campaign targeted at raising awareness of on-campus sexual assault and the effects that assault has on survivors. This ad campaign will include testimonies of survivors of sexual assault within the Claremont Colleges and will be shared through social media and printed on physical flyers. This thesis will explore how marketing strategies, such as, social norms marketing, has the potential to change the audiences behavior in relation to their peers’ behavior. It will also explore the work of the Guerrilla Girls and how anonymity was crucial to their success. In addition, One in Four will examine the work of Barbara Kruger and her use of graphics and red text. Through the use of various marketing strategies and influence of the work of the Guerrilla Girls and Barbara Kruger, One In Four will be successful in it's goal of raising awareness, destigmatizing sexual assault and have survivors feel that their stories are important and they are not alone.

Denna studie syftar till att undersöka om det finns ett samband mellan designfaktorer och prisklass på rödvinsetiketter. För att kartlägga förekommande designfaktorer har en visuell innehållsanalys gjorts inom tre olika prisklasser hämtad från Systembolagets hemsida. Utifrån den visuella innehållsanalysens resultat designades tre vinetiketter för varje prisklass. För att ta reda på om dessa designfaktorer hade ett samband med den tänkta prisklassen testades vinetiketterna mot konsumenter genom en webbenkät. Slutsatsen var att det fanns vissa generella drag som skiljer prisklasserna åt även om många designfaktorer var vanligt förekommande för alla prisklasser. Utifrån respondenternas svar visade sig vissa av designfaktorerna vara mer eller mindre tydliga för den tilltänkta prisklassen. / This study aims to examine whether there is a connection between design factors and price on wine labels for red wines. To identify occurring design factors, a visual content analysis was made from three different price ranges brought from the Swedish Alcohol Retailing Monopoly’s website. Based on the visual content analysis results three wine labels for each price range was designed. To find out if these design factors were associated with the intended price range, the wine labels were tested on consumers with a web survey. The conclusion was that there was some general features that distinguish price range classes, although many design elements were common for all price ranges. Based on the respondents answers it turned out that some of the design factors were more or less clear to the intended price range.

Digital technology has expanded the designer’s creative reach, but cannot duplicate the complexity of the imperfect and unexpected results of handmade processes. By executing a series of hand-built collage and assemblage pieces, I hope to not only rediscover the pleasure of working with my hands but also to develop creative methods to incorporate into future design projects. In this body of work, I have manually executed tasks that designers perform with software — cutting, pasting, layering, aligning, and creating transparency and drop shadows. The pieces are built from new and found materials, using text and images from old family letters and photos — physical evidence of relationships from my childhood and those of my parents and grandparents. These pieces express fragments of memories and family history.

På den svenska marknaden står bag-in-box-vin för över 50 procent av allt vin som säljs och Sverige är det land där bag-in-boxen fått starkast fäste i världen (Fremin, 2012). Det gör att bag-in-box-förpackningen är en stor och betydelsefull produkt för vintillverkare och att ha kunskap om säljande design är viktigt för grafiska formgivare samt övriga involverade företag. Den föreliggande studiens syfte var att undersöka vilka designfaktorer på bagin- box-förpackningar som påverkar konsumenternas val av vin i Sverige. Studien innefattade en visuell kartläggning som ämnade ge en överblick av utbudet på ett Systembolag. Detta genomfördes för att skapa en grund till den webbaserade enkätundersökningen som genomfördes under våren 2015. Resultaten visade att majoriteten av respondenterna valde vin baserat på förpackningens utseende och ansåg att de påverkades främst av färg, typsnitt, illustrationer och varumärken. Resultaten visade också att ju högre vinkunskap konsumenterna hade desto mindre påverkade designen deras val. Kvinnor och män hade generellt olika åsikter angående hur stor påverkan de olika designfaktorerna hade vid valet av bag-in-box-vin. Denna studie är endast ett avstamp till ett ämne som innefattar många påverkande faktorer. Det betyder att mer forskning krävs inom ämnet innan helt sanningsenliga resultat kan fastställas. / In the Swedish market the bag-in-box wine stands for over 50 percent of all wine that sells and Sweden is the country where the bag-in-box have the strongest hold in the world (Fremin, 2012). This makes bag-in-box packaging a major and significant product for winemakers. Therefore having knowledge about selling design is important for graphic designers and other involved companies. This study included a visual content analysis of the bag-in-box wine in a liquor store in Sweden in order to get an overview of the supply. With the results, a web-based survey was created and implemented in the spring of 2015. The results showed that the majority of the respondents chose the wine based on the appearance of the package and felt that they were mainly effected by the colour, font, illustrations and brand. Consumers with higher knowledge about wine were less effected by the design in their choice of wine. Women and men had generally different opinions about how much impact the different design factors had in the choice of bag-in-box wine. This study is only a starting point for a subject that includes many influencing factors. Further research is therefore needed before completely truthful results can be established.

Orientador: Marizilda dos Santos Menezes / Banca: Anna Paula Silva Gouveia / Banca: Aniceh Farah Neves / Resumo: O Design Gráfico é uma profissão estabelecida com o advento das vanguardas artísticas do século XX. Enquanto atividade profissional, ele lida com o planejamento e projetos que envolvem a solução visual de problemas de comunicação e informação. O Design de Superfície, por sua vez, é a prática profissional comprometida com a elaboração de projetos para revestimentos e aplicação em produtos, atentando para os materiais e processos de fabricação empregados. A relação entre as duas áreas do Design está ligada, a princípio, pela característica bidimensional. No Brasil, o estudo acadêmico sobre o Design de Superfície está em plena evolução e algumas universidades lidam com o assunto. Analisar conceitos e características acerca das metodologias que compreendem tanto o Design Gráfico como o Design de Superfície torna-se um assunto atual e abrangente. Portanto, faz-se necessário o desdobramento conceitual e metodológico a fim de estabelecer relações e contribuições envolvidas no campo do Design Gráfico e empregá-los no Design de Superfície. Dessa forma, o presente estudo tem por finalidade verificar conceitos e funções particulares do Design Gráfico e estabelecer contribuições para o Design de Superfície. Os resultados deste estudo podem ser utilizados como suporte de ensino e prática profissional. / Abstract: Graphic Design is a profession established with advent artistic vanguards of century XX. While professional activity, it works with planning and projects which involve the visual solution of communication and information problems. Then, The Surface Design is the professional practice pledged with elaboration of projects for coatings and application in products, attempting to production and materials in the processes. The realtions between both Design areas is connected, at first, by the two-dimensional characteristic. In Brazil, academic study about Surface Design is in evolution and some universities works with this subject. Analyze concepts and characteristics concerning methodologies that comprehend both Graphic Design becomes a current and including subject. Therefore, is necessary conceptual unfolding and methodological in order to establish relations and contributions involved in the field of Graphic Design and to employ them in Surface Design. Thus, the present study had for purpose to check concepts and particular functions of Graphic Design and to establish its relations and contributions for Surface Design. The results of this study can be used as teaching support and professional practice. / Mestre

Made available in DSpace on 2016-06-02T20:39:22Z (GMT). No. of bitstreams: 1 6584.pdf: 911088 bytes, checksum: 8b351552cd7d6299e23495fecee576bc (MD5) Previous issue date: 2014-09-04 / Financiadora de Estudos e Projetos / Given the changes caused by the so-called flexibilization of the work and production processes, the new analysis on the work category have aimed to understand its current settings and its effects on the daily lives of workers. Dynamism, versatility, engagement, selfmanagement, and creativity are just some of the values preached as ideals to be internalized by the workforce. The analysis of work in graphic design seems to indicate if these values are empirically experienced. We tried to analyze the configuration of the activity, the daily activities of this creative work, the personal and professional networks that determine the entry and stay in the sector, the contradictions between the individual creative potential of these workers against the demands of its customers as well as against the uncertainty and flexibility of this labor market. The work by projects, the intermittency of employment contracts, freelancing and the resulting instability are features that compose this activity despite all the glamor that the designation design brings. Nine semi-structured interviews with graphic designers, both actual and through virtual devices (email, Facebook and Skype), seven of them working in the interior of São Paulo, and two in the state capital were performed. / Diante das mudanças ocorridas a partir da chamada flexibilização da produção e processos de trabalho, novas análises sobre a categoria trabalho têm se esforçado para compreender suas atuais configurações e seus reflexos no cotidiano dos trabalhadores. Dinamismo, polivalência, engajamento, autogerenciamento e criatividade são apenas alguns dos valores pregados como ideais a serem internalizados pela força de trabalho. A análise sobre o trabalho no design gráfico parece indicar empiricamente se esses valores são vivenciados, e os conflitos decorrentes. Buscou-se mostrar a configuração da atividade, o dia a dia desse trabalho tido como criativo, as redes pessoais e profissionais que condicionam a entrada e permanência no setor, as contradições existentes entre o potencial criativo individual desses trabalhadores e as demandas de seus clientes e o cenário de incertezas e flexibilidade desse mercado de trabalho. O trabalho por projetos, a intermitência dos contratos de trabalho, o freelancing e a instabilidade resultante são características que compõem essa atividade, apesar de todo o glamour que essa denominação traz consigo. Foram realizadas nove entrevistas semiestruturadas com designers gráficos, tanto presencialmente como por meio de dispositivos virtuais de interação social (e-mail, Facebook e Skype), sete deles atuantes no interior de São Paulo, e dois na capital do estado.

Orientador: Maximiliano Martin Vicente / Banca: Rosangela Marçolla / Banca: Maria Inez Mateus Dota / Resumo: A evolução gráfico-visual no jornalismo submeteu-se à intervenção de inúmeros fatores ao longo da história como a influência de movimentos artísticos, demandas sócio-históricas e políticas bem como a evolução no próprio processo de impressão. Entretanto, elementos contextuais como o advento da TV em cor e, especialmente a Revolução da Tecnologia da Informação e Comunicação, nas últimas décadas do século passado, alias à falta de credibilidade, gerada pelo imediatismo e instantaneidade na produção noticiosa assim como a gratuidade - que passou a permear esse setor - propiciaram a crise no jornalismo. A proliferação de novos suportes informativos a partir da convergência tecnológica (TV, Internet, ets) incorreria na evasão do leitor do jornalismo impresso, que por sua vez clamaria por remodelações como forma de sobrevivência face à Sociedade da Informação. O formato pós-televisivo de jornalismo surge como uma resposta a tal cenário conjuntural reproduzindo modelos televisivos, como a cópia de um ecrã, por meio de textos concisos, recursos infográficos, primazia da imagem e da cor em uma clara configuração do triunfo do paradigma visual sobre o conteúdo profundo. De posse de um design que privilegia a horizontalidade, os espaços em branco, a paginação modular e a fragmentação noticiosa, o formato aludido articula forma e conteúdo intuindo atender às demandas do leitor contemporâneo - um sujeito fragmentado destituído de tempo - ofertando um jornalismo de leitura rápida, de prestação de serviços e sobretudo permeando pela superficialidade. Desde modo, a presente pesquisa busca inferir a interferência do formato pós-televisivo de jornalismo no cotidiano do leitor, seu exercício da cidadania, bem como sua configuração informativa por meio de coleta junto a uma amostra de leitores e pela análise de pauta do Conselho de Leitores do jornal Bom Dia Bauru. / Abstract: The visual graphic evolution in journalism has submitted itself to the intervention of several factors throughout its story as the artistic movements influence; social, historical and political demands as well as the evolution of the own printing process. However, contextual elements such as the advent of the colour TV and especially the Communication and Information Technology Revolution, in the last decades of the past century, allied to the lack of credibility caused by the immediate and the instantaneous character in the news production as well as the arrival of the free information - which passed to permeate this sector - propitiated the journalism crisis. The proliferation of new informative vehicles from the technological convergence (TV, Internet, etc) incurred into the reader's flight from the printed press which in turn would plead for transformation as a way of survival, in view of Information Society. The post-televise journalistic format arises as an answer to such a contextual scenery reproducing televise models, as an ecran copy, by means of concise texts, infographics resources, the colour and image primacy in a clear conformation of the visual paradigm triumph over the profound content. In possession of a design which focuses horizontality, the white spaces, the modular paging and the news fragmentation, the mentioned format articulates shape and content in order to answer the contemporary reader's demands - a fragmented subject devoid of time - offering a quick reading and services provision journalism and above all permeated by the superficiality. Thus, the present research seeks to infer the interference of the post-televise journalistic format in the reader's daily and citizenship exercises as well as his informative configuration through the data collection close to reader sample and by the Bom Dia Bauru newspaper's Readers Council guidelines analysis. / Mestre

The thesis is focused on history and present application of pictograms. The thesis includes theoretical and practical parts to introduce the phenomenon of pictogram. Theoretical part embraces three chapters: basic terminology that is using in problematic of pictograms, the pictograms in communication in general and presumptive genesis of pictogram from cave art, Egyptian art to comic strips. Practical part presents the spheres and applications of pictogram in nowadays such as traffic, tourism, orientation, informatics and communication systems, logotypes, national and personal presentation, religious symbols. The thesis is concerned with historical and graphical contexts with respect to mentioned fields of application.