Au croisement des champs du design graphique, des visual studies, et de l’épistémologie, cette thèse interroge la dimension politique du regard, au travers d’une histoire critique de la modernité en design graphique. Empruntant à Bruno Latour ou Philippe Descola, cette histoire permet de faire apparaître comment le design graphique s’est constitué, à l’époque moderne, comme discipline consacrée au travail de la représentation. À l’image des sciences, le visible a lui aussi fait l’objet d’un « Grand partage », contribuant à construire et à structurer notre espace visuel, en imprégnant le regard moderne de ses préjugés et de ses inclinations. Les catégories qui se présentent alors sous une forme visuelle semblent bien pouvoir, par la métaphore, recouvrir des distinctions épistémologiques plus fondamentales, permettant d’une certaine manière de considérer que les principes de vision (les manières de voir) sont aussi des principes de division (des manières de comprendre et de connaître). / From the intersection of the fields of graphic design, visual studies and epistemology, this thesis explores the political dimension of the gaze through a critical reading of modernity in graphic design. In this history, which borrows from Bruno Latour and Philippe Descola, graphic design emerges as a discipline that, in the modern period, has been devoted to the work of representing. Like the sciences, the visible has been subjected to a “Great Divide,” which has participated in how our visual space is constructed and structured by imbuing the modern gaze with its biases and inclinations. Categories that now appear in visual form seem to be able, through metaphor, to contain more fundamental epistemological distinctions. They also allow us to see how the principles of vision (ways of seeing) are in some sense also principles of division (ways of knowing and understanding).

[pt] No decorrer das últimas duas décadas, mudanças substanciais no paradigma morfológico das imagens sinalizadoras de projetos de sinalização ambiental, em especial as das áreas públicas de lazer, evidenciam uma liberdade nas soluções formais. Onde havia um pictograma perfeito e inequívoco, hoje são encontradas imagens influenciadas por tendências e/ou por seu contexto. Alguns zoológicos adotam sistemas diferenciados nos projetos de sinalização. Ora predomina o uso de imagens pictográficas, ora maior relevância é dada às imagens fotográficas. O Jardim Zoológico do Rio de Janeiro foi o local escolhido para um estudo, em bases semióticas, dos tipos de objetos de sinalização, em especial as das imagens visuais identificatórias dos animais em suas jaulas, verificando os possíveis interpretantes e suas conseqüências. / [en] Over the last two decades, substantial changes in the morphological paradigm of the images used in environmental signage, especially in public recreation areas, have shown a freedom of formal solutions. Where there used to be a perfect and unequivocal pictogram, today there are images influenced by tendencies and/or context. Some zoos use differentiated systems of signage. Sometimes the use of pictographic images prevails; other times, more relevance is given to photographs.The Rio de Janeiro Zoo was chosen for a semiotic study of signing objects, in particular the visual identification of the animals in their cages, their possible interpretations and their consequences.

Graphic design applications are often used for the editing and design of digital art. The same applications can be used for creating counterfeit documents such as identity documents (IDs), driver’s licenses or passports, among others. The products of graphic design applications, however, leave behind traces of digital information which can be used during a digital forensic investigation. Although current digital forensic tools are designed to scrutinise systems with the purpose of finding digital evidence, the tools are not designed to examine such systems specifically for the purpose of identifying counterfeit documents. This dissertation reviews the digital evidence relating to the creation of counterfeit documents and gathered from graphic design applications. Digital evidence gathered in this way consists mainly of identifying and corroborating the counterfeiting events that occurred on a particular system. Firstly, such an analysis is accomplished by establishing linkages between the digital forensic information that has been gathered and the specific actions that were performed when the counterfeit documents were created. Such actions comprise scanning, editing, saving, and printing. The researcher is able to compile a dossier of the digital forensic information that is generated by such actions by analysing the files that were generated by making use of a particular graphic design application for document creation. Secondly, the researcher extends the analysis to the actual files created by the application user. These files can be used as evidence to establish linkages between the content of the counterfeit documents that are being investigated and the document editing actions that are necessary for creating such documents. The researcher gathers digital forensic information of this kind by analysing the different file types that are associated with these applications. The researcher then gathers the associated timeline evidence separately by means of a third analysis that identifies timestamps from the application’s system files and evidence files. The researcher is then able to draw a timeline from the timestamps to illustrate the sequence of events that occurred. From the digital evidence gathered in this way it is possible to propose a two-pronged counterfeiting investigation process. This proposed investigation process is application and platform independent. The researcher concludes the study by transforming the model into a working prototype by demonstrating how the prototype is capable of analysing and extracting digital forensic information from certain graphic design application file types and log files. Such a prototype is capable of identifying the system that was utilised for counterfeiting particular documents or identifying whether a specific document is counterfeited or not. / Dissertation (MSc)--University of Pretoria, 2013. / gm2014 / Computer Science / unrestricted

La période qui s'étend de la fin des années 1950 à la fin des années 1970 est marquée, en France, par de profonds bouleversements sur le plan politique, économique et social ; bouleversements qui trouvent un écho dans les grandes questions qui traversent le champ architectural. On passera de la Reconstruction de la France toute azimut à la crise urbaine, et du constat d'échec de l'urbanisme moderne au retour à la question de la ville, de l'histoire et des fondements de la discipline architecturale. Cette mutation est vécue et nourrie par la génération des architectes-intellectuels formés dans les années 1960 à l'Ecole Nationale Supérieure des Beaux-Arts à Paris. Ayant contribués à la mise en abîme des structures pédagogiques de leur école, ces élèves-architectes sont devenus les acteurs principaux de la fondation des Unités Pédagogiques d'Architecture et de la naissance de la recherche architecturale en France. Portés par la question de l'autoreprésentation, ils revendiquent l'importance d'une ré-intellectualisation de leur discipline et se positionnent à l'encontre d'une pratique architecturale pragmatique. Leurs actions s'expriment, s'articulent et se concrétisent au sein d'une série de revues initiées, fondées et/ou investies par ces acteurs même. Si la question de l'autoreprésentation devient le référentiel et l'enjeu central de ces architectes, c'est au travers de leurs activités éditoriales qu'ils repensent leur enseignement, leur métier et leur pratique. L'objectif de la thèse est de mettre en évidence, d'une part le renouvellement des problématiques et des aspirations de ces architectes français, et d'autre part le rôle productif du dispositif éditorial dans la conception des nouvelles représentations qu'ils proposent. Si leurs activités éditoriales permettent d'articuler les relations entre le champ architectural, leurs positions et leurs aspirations, elles mettent également en évidence en quoi les outils éditoriaux à disposition construisent les différentes facettes de la figure de l'architecte-intellectuel qu'ils désirent devenir. La thèse vise à éclairer l'implication des activités éditoriales sur la pensée architecturale des années soixante, sur le décloisonnement de la pédagogie architecturale et sur la mutation de l'autoreprésentation des jeunes architectes. Elle démontre également en quoi ces revues ont contribué à la mise entre parenthèse de la pratique architecturale qui aboutit in fine à des architectes sans architecture / In France, the period that stretches from the end of the 1950s to the end of the 1970s is marked by major political, economic and social upheavals. These upheavals reverberate in the pressing questions that permeate the architectural field, which passes from the Reconstruction of France to urban crisis, and from the assessment of the failure of modern urbanism, to return to questions of the city, history and the foundations of the discipline of architecture. This transformation was experienced and fostered by the generation of architect-intellectuals trained in the 1960s at the Ecole Nationale Supérieure des Beaux-Arts in Paris. Having contributed to the critical evaluation of the pedagogical structures of their school, these student-architects became the principal actors of the foundation of the Unités Pédagogiques d'Architecture, and of the birth of architectural research in France. Driven by the issue of self-representation, these architects insisted upon the importance of a re-intellectualization of their discipline, and positioned themselves in opposition to a pragmatic architectural practice. Their actions were expressed, revolved around, and were concretized by a series of magazines initiated, founded and/or actively contributed to by these same actors. If the issue of self-representation became the frame of reference and the central concern for these architects, it is through their editorial activities that they rethought their teaching, their profession and their practice. The aim of this dissertation is to highlight on the one hand, the renewal of the issues and aspirations of these French architects, and on the other, the productive role played by the editorial apparatus in the elaboration of the new representations that these actors proposed. If their editorial activities enabled them to articulate the relationships between the architectural field, their positions and their aspirations, they also highlighted to what extent these available editorial tools constructed the different facets of the figure of the architect-intellectual that these young architects wished to become. The dissertation seeks to illuminate the implications of these editorial activities on architectural thought during the 1960s, on the breaking down of established architectural pedagogy, and on the transformation of the self-representation of these young architects. The dissertation also demonstrates to what extent these magazines contributed to the putting aside of architectural practice, and ultimately, to architects without architecture

[pt] Para Todos: J. Carlos Designer é um trabalho que tenta contribuir para a desmistificação da idéia de que o design gráfico no Brasil nasceu com a institucionalização do ensino no país na segunda metade do século XX, a presente dissertação traz à luz a atuação do caricaturista J. Carlos enquanto designer gráfico à frente das revistas publicadas pela empresa O Malho S. A. pertencente ao grupo Pimenta de Mello & Cia entre 1922 e 1930. Através da análise gráfica de três revistas do grupo, Para Todos..., O Malho e Illustração Brasileira, procurou-se demonstrar que, ao realizar um projeto gráfico distinto para cada uma das revistas, direcionando-os aos respectivos públicos-alvo, a atuação de J. Carlos em nada difere da de um designer gráfico hoje, não havendo portanto nenhuma justificativa para que tal legado não seja incorporado à nossa memória gráfica. Dada a qualidade dos projetos, acreditamos que, o mapeamento dos recursos por ele utilizados pode constituir uma rica fonte de aprendizado para os estudantes da área. O primeiro capítulo traça o arcabouço teórico que guiará a análise gráfica apresentada; nele se fala sobre os vários significados do conceito moderno ao longo da história, da modernidade baudelairiana, do modernismo e do art déco. O segundo capítulo contextualiza o leitor no Rio de Janeiro dos anos 1920, traçando um perfil do artista gráfico da época e do parque gráfico do qual dispunha. No terceiro capítulo, através da análise gráfica, percorremos a atuação do J. Carlos designer nas revistas acima citadas, observando as soluções técnicas e visuais por ele adotadas em cada uma delas no que concerne a tipografia, a fotografia e o desenho e o modo como esses elementos se relacionam. / [en] Para Todos: J. Carlos Designer is a research work that tries to bring up some contribution on demystifying the idea that graphic design in Brazil started through the institutionalization of apprenticeship in the second half of the XXth Century, this dissertation focuses caricaturist J.Carlos as a graphic designer, between 1922 and 1930, when responsible for magazines published by O Malho S.A., owned by Pimenta de Mello & Cia. Through graphic analysis of three of those magazines - Para Todos, O Malho and Ilustração Brasileira - the idea was to demonstrate that proposing different graphic design solutions for each of them, aiming each specific public, J, Carlos had an approach in anything different of the one of today s graphic designers, and therefore there is no reason why such a heritage should not be considered part of our graphic design memory. The quality of these projects makes the study of resources used a rich source of apprenticeship for design students. First chapter establishes theoretical structure that will guide graphic analysis presented, being mentioned the various meanings of modern concept through history, baudelerian modernity, modernism and art deco. Second chapter concerns the twenties in Rio, making a profile of graphic artists of the time and of technical resources available. Third chapter follows J, Carlos work as a designer in above mentioned magazines through graphic analysis, observing technical and visual solutions proposed for each of them, in what concerns typography, photography and drawing, considered separately and related to one another.

El objetivo principal de la investigación es analizar cómo afecta la digitalización de las herramientas de diseño al proceso creativo de los ilustradores profesionales en Lima. De acuerdo con ello, se propuso como hipótesis que la digitalización puede ocasionar un cambio en los niveles de productividad relacionados con la innovación y representación de ideas. De este modo, se analizaron los resultados de una dinámica aplicada a ilustradores profesionales quienes estaban divididos en dos grupos de manera aleatoria. Un grupo haría uso de herramientas digitales para graficar la mayor cantidad de representaciones visuales de una palabra durante un tiempo limitado, mientras que el otro trabajaría bajo las mismas condiciones pero haciendo uso de herramientas manuales. Los resultados fueron recopilados en listas de cotejo por medio de una observación estructurada de la dinámica. Entre los principales resultados encontramos que las herramientas digitales se encuentran presentes en la mayor parte del proceso creativo y afectan en especial la última fase de este. En segundo lugar, el uso de herramientas digitales favorece los niveles de precisión de las representaciones visuales. En tercer lugar, encontramos que la diferencia en la cantidad de representaciones visuales generadas entre ambos grupos fue mínima, pero con resultados favorables para las herramientas digitales. Finalmente, el análisis de cada muestra permitió concluir que la digitalización de las herramientas de diseño afecta el proceso creativo de los ilustradores ocasionando un cambio en sus niveles de productividad. / The main objective of the research is to analyze how the digitization of design tools affects the creative process of professional illustrators in Lima. Accordingly, it was hypothesized that digitization can cause a change in productivity levels related to innovation and idea representation. In this way, an analysis of information collected through checklists was carried out in the observation of a sample, made up of professional illustrators who began their academic training after the start of the digitization process in Lima, divided into two groups at random. One group would use digital tools to graph the largest number of visual representations of a word for a limited time, while the other would work with hand tools. Among the main results we find that digital tools are present in most of the creative process and especially affect the last phase of it. Secondly, the use of digital tools favors the levels of precision of visual representations. Third, we found that the difference in the number of visual representations generated between the two groups was minimal, but with favorable results for digital tools. Finally, the analysis of each sample allowed us to conclude that the digitization of design tools does affect the illustrators' creative process, causing a change in their productivity levels. / Trabajo de investigación

In graphic design, colours can be used to communicate a message and attract attention. In book design, colours convey the content, just like they communicate the product’s information in packaging design. The purpose of this study is to analyse how colours have been used on book covers to convey the content, within the topic of health. A quantitative content analysis was made on the book covers of the top 11 bestsellers in Sweden. The colour theory analysis is based on Shigenobu Kobayashi’s work in Colour image scale. The result found that neutral hue was the one that was most commonly used. Additionally, the analysis revealed some correlation between the book content and the colour combination on the book covers. For example, a book related to finding happiness had a colour combination that matches a casual and natural lifestyle. Although the analysis offered some insight within the subject of colour and book design, further studies are needed in order to understand the extent of how colours are being used towards communicating the content.

Det är enkelt att som människa fastna i gamla hjulspår och mönster. Vi vandrar samma gator och möts därmed av samma syner gång efter annan. Det kan leda till att vi slutar se vår omgivning och miljön runt omkring oss. Den upplevs kanske tråkig, vardaglig och icke-exotisk. Detta examensprojekt är skapat för att öppna människors ögon för det fantastiska som finns runt omkring oss. Särskilt i dessa tider, när miljön är på sin bristningsgräns och viruset covid-19 spridits över världen, krävs det att vi ser över våra resvanor och de normer som finns gällande resande. Projektet ämnar undersöka hur grafisk design kan bidra till att inspirera människor till att utforska och uppleva sin närmiljö. Upptäck ditt Norrbotten är skapat för att lyfta platser och aktiviteter väl värda ett besök i länet. / It is easy to, as a person, get stuck in old wheel tracks and patterns. We walk the same streets and thus meet with the same visions time after time. This can cause us to stop seeing our surroundings and the environment around us. It is perhaps boring, mundane and non-exotic. This degree project is created to open people's eyes to the great things that are around us. Especially in these times, when the environment is at its breaking point and the virus covid-19 is spread around the world, it is required that we review our travel habits and the standards that apply to travelers. The project aims to examine how graphic design can help inspire people to explore and experience their local environment. Upptäck ditt Norrbotten is created to lift places and activities well worth a visit in the county.

Les outils de design graphique traditionnels n’ont que peu évolué depuis leur création, il y a plus de 25 ans. Dans cette thèse, je m’intéresse à deux questions principales: Comment les designers travaillent-ils avec leurs outils de design numériques? Comment peut-on créer de nouveaux outils numériques pour le design qui supportent les pratiques existantes? J’étudie en premier lieu quatre pratiques de design. Celles-ci s'échelonnent depuis des opérations spécifiques telles que la sélection de couleurs, l’alignement et la distribution d’objets graphiques vers des pratiques plus complexes telles que la structuration de la mise en page et la collaboration avec des développeurs pour créer de nouvelles interactions. Dans ces quatre études empiriques, je caractérise le décalage existant entre les outils numériques actuels et les pratiques des designers. Je montre comment les outils du design numérique actuels détachent la créativité de l’utilisation des outils en donnant la priorité à des valeurs telles que l’efficacité et la facilité d’utilisation. Je propose un nouveau type d’outil de design nommé “Substrats Graphiques”, fondé sur les résultats empiriques de mes quatre études et qui combine la souplesse et l'expressivité de la programmation avec la manipulation directe permise par les interfaces graphiques traditionnelles. Je conçois neuf outils différents qui répondent aux attentes identifiées dans mes études empiriques en réifiant (transformant en objets concrets) les processus spécifiques des designers en tant que Substrats Graphiques. À travers quatre observations structurées, je montre comment les designers s’approprient ces substrats dans leurs propres termes. Dans cette thèse, je soutiens que les Substrats Graphiques ouvrent l’espace des possibles des outils pour les designers en permettant de combler l’écart entre la programmation et les interfaces graphiques. / Mainstream digital graphic design tools seldom evolved since their creation, more than 25 years ago. In this dissertation, I address the following questions: How do designers work with design software? And how can we design novel design tools that better support designer practices? Using StoryPortraits, a method designed to capture rich qualitative insight, I first study four designer practices, ranging from specific design operations such as color selection, alignment and distribution, to more complex endeavors such as layout structuring and collaboration with developers. In these empirical studies, I characterize the existing mismatch between current digital design tools and designers practices. I show how design tools, because they decouple creativity from tool use, prioritize values such as efficiency and user-friendliness. Based on my empirical findings, I propose a new type of design tools, Graphical Substrates that combine the strengths of both programming and traditional Graphical User Interfaces. I design nine different tools that address the needs identified in the four empirical studies by reifying specific user process into Graphical Substrates probes. In four structured observation studies, I show how designers can appropriate these probes in their own terms. In this thesis, I argue that Graphical Substrates open the design space of designers' tools by bridging the gap between programming and graphical user interface to better support the wealth of designers' practices.

Cette thèse porte sur la conception d'outils numériques interactifs pour les professionnels du design graphique et de la chorégraphie contemporaine. Ces praticiens utilisent des principes et des méthodes personnels qui contraignent et guident leur processus créatif. Je soutiens que, pour construire des logiciels puissants permettant d’étayer leurs pratiques, nous devons les laisser définir et manipuler leur propre ensemble de contraintes créatives. Je présente deux outils qui illustrent cette approche. StickyLines offre des représentations visuelles des contraintes d’alignement et de distribution d’objets graphiques afin de mieux répondre aux besoins des utilisateurs. Knotation permet aux chorégraphes d'esquisser leurs idées et de les rendre interactives, en leur permettant de représenter des contraintes, du mouvement ou une combinaison. Je montre que, bien que leur produit créatif soit de nature fondamentalement différente, le processus créatif de ces professionnels peut être abordé avec une stratégie commune: permettre aux utilisateurs de créer des substrats interactifs qui articulent contenu et contraintes. / This thesis focuses on the design of interactive digital tools for professionals in graphic design and contemporary choreography. These practitioners employ personal principles and methods that constrain and guide their creative process. I argue that to build powerful software tools to support their practice, we need to let them interactively define and manipulate their own set of creative constraints. I introduce two tools that illustrate this approach. StickyLines provides visual representations of alignment and distribution constraints in layout design to better match users’ needs. Knotation allows choreographers to sketch their ideas and make them interactive, letting them represent constraints, movement, or a combination. I show that although their creative product is fundamentally different in nature, these professionals’ creative process can be addressed with a common strategy: Allowing users to create interactive substrates that articulate content and constraints.