Thesis (MDes) - National School of Design, Swinburne University of Technology, 2009. / A thesis submitted in fulfillment of the requirements for the degree of Masters of Design by Research, [Swinburne University of Technology], 2009. Typescript. Bibliography: p. [89]-91.

Thesis (M.F.A.)--West Virginia University, 2000. / Title from document title page. Document formatted into pages; contains iv, 25 p. : ill. (some col.) Includes abstract. Includes bibliographical references (p. 23-25).

Thesis advisor: Ab Gratama. Includes bibliographic references (p. 39-40).

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 49).

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 59-62).

Orientador: Prof. Dr. Omar Khoouri / Banca: Milton sogabe / Resumo: Poesia e design : dois modos distintos de lidar com a linguagem. O design gráfico lida com o desenho, a formatação escrita, dispondo textos e imagens no espaço gráfico. A poesia, quando passa a incorporar elementos advindos dos signos visuais urbanos, da publicidade , da comunicação gráfica, apropria-se das possibilidades semânticas sugeridas pela fusão de texto com imagens A partir da explosão de códigos e meios causada pela Revolução Industrial, poesia e design tendem a aproximar-se já que a escrita poética também começa a operar com ferramentas comuns do design gráfico. As duas artes ocupam-se com diferentes nuanças da mesma prática: a escrita icônica. Com o objetivo de identificar os entrelaçamentos entre a poesia visual e o design gráfico, esta pesquisa expõe os conceitos básicos da poesia visual, aprofundando-se nas explorações gráficas e poéticas através da dimensão visual da escrita; estuda o desenvolvimento das tecnologias de produção gráfica que possibilitaram a hibridação de linguagens bem como a facilidade de produção e distribuição das comunicações gráficas; investiga as relações que a poesia visual e o design gráfico estabelecem com os meios de comunicação e como se inserem e se comportam na cultura amplificada, finalmente, resgata três caos de parcerias notórias entre poetas e designers que resultaram em trabalhos de grande valor estético e histórico. Ao tratar de temas tão carregados de visualidade, naturalmente a pesquisa trouxe muitos achados iconográficos - reproduções de poemas, trabalhos de design, tipografias, etc. Aliando a formação e a prática profissional da mestranda - designer gráfica - com o tema da pesquisa, terminou-se por realizar um projeto gráfico para abrigar o conteúdo da pesquisa, entrelaçando o texto e as imagens do trabalho. / Abstract: Poetry and design: two different ways of working the language. Graphic design deals with the shape and the formatting ofthe writting, it places texts and images within the graphic space. Poetry, as soon as it incorporates sings from the urban scene from advertising, from graphic communications, it takes advantage of the semantic possibilities that are given by the fusion of text and images. Since the booming of new codes and new media, brought by the Industrial Revolution, poetry and design got even closer to each other. Both arts poetry and design practice the iconic writing. Aiming to identify the intercaling between visual poetry and graphic design, this research exposes basic concepts of visual poetry, immerging into the explorations of the visual reality of the writing; it studies the development of graphic production that improved the merging of codes as well the spreading of graphlic communications; it investigates the relations that the visual poetry and graphic design estabilished with and the amplified culture ; finally the research relates three suseccsful encounters between poets and designers. Dealing with themes that are so visually rich this rearch brought up many iconic treasures. Putting the author's profession - graphic designer - and the researche theme together, this work resulted into a graphic project designet to contain and to interlace the text and the images that were born from this research. / Mestre

Graphic design faces the contradictions of commercial intent and social relevance. This study explores the contribution of criticism, in two independent, seminal graphic design magazines, towards shifting the dominant preferences of graphic design from a purely commercial pursuit to a human-centred practice. Emigre magazine (c.1984 - 2005) and Dot Dot Dot magazine (c.2000 - 2010) are recognised for their critical intent and within them are emerging critical issues that suggest a potential niche for graphic design beyond consumerism and commerce. In the discipline of graphic design, designers define what it is to be human (and thus equally the realities of dehumanisation) in very particular ways (Rose, 2001:135; Freire, 1993:43). Graphic design has a history of commercial practice. This commercial history continues to define its identity and reinforce a particular body of knowledge. Graphic design criticism, however, is an inventive voice that has the potential to contribute to change. Both Emigre and Dot Dot Dot were representative of a “constructive marginality” (Bennett, 1993:64), drawing from their own set of references and awareness of graphic design’s potential to inform their identities, instead of looking to established definitions of practice to do so. This analysis explores how they anticipated a modern conception of graphic design that has become part of a recently adopted (2015) and more widely embedded discourse. This discourse involves critical design that interrogates multiculturalism, interdisciplinarity, environmental sustainability, social and political agency, and speculative futures. Graphic design engages social institutions and practices that denote social constructions of difference and inequality, and is never neutral. Any work, any representation of ideology, is at once individual and discursive at the level of social, cultural and political formations. The critical issues evident in Emigre and Dot Dot Dot, with the exception of an absence of speculative futures, anticipate a more humanising perspective in graphic design. They invite critique and the potential for change that is relevant to the surrounding world, as a counter to commercial self-interest.

This thesis focuses upon fictitious people as food brand icons and their role and visual representation in contemporary international food packaging. It presents a new lens that focuses upon the visual reading of examples. Through comparative analysis of historical and contemporary British, Canadian and American examples primarily, ones that share comparable roles and visual characteristics, the study considers its hypothesis: a common visual formula operates across time and cultures in the creation and enduring omnipresence of icons that appear as real. It considers how shared visual codes provide identification of types and through such it presents a taxonomy of fictitious brand icons based upon their visual identity. The thesis considers, in relation to notions of storytelling, how examples read and are understood as real upon packaging and within wider commercial, social and cultural contexts. It considers how they relate to real people and roles through specific consideration of female home economist/ consumer advisor examples. The thesis focuses upon the American food brand icon Betty Crocker to consider how she may be understood as symbolic of a host of enigmatic examples. The thesis advances the study of packaging, branding, culinary history and design history through its original focus and methodological approach which evidently have been neglected previously in academic study. It braids interdisciplinary perspectives to present an original understanding of brand icons and packaging. It determines brand icon as key term; to address the need for a clear definition and understanding . The study's visual reading and taxonomy present an original framework that assert that visual codes create complex commercial and cultural fictitious personalities that can be deliberately elusive yet often appear as real. In particular, its interrogation of specific fictitious brand icons as enigmatic commercial home economists/consumer advisors confirms the existence of a commercial sisterhood; clone-types that appear to replicate their roles and appearance via visual codes that endure and appeal.

No description available.

Submitted in fulfilment to the Department of Planning and Administration of the requirements for the degree of Doctor in Education in the Faculty of Education at the University of Zululand’ 2018. / Studies pertaining to the relationship and effect of prior spatial experience, gender and how they influence three-dimensional (3D) solid modelling as well as different cognitive styles on the spatial visualisation skills has little to no evidence, especially in graphics design students at rural–universities. Additionally, graphics design students often struggle to understand, process and convert multi-faceted objects from orthographic two-dimensional (2D) views into isometric projections (3D). However, ongoing study established a strong link between spatial visualisation skills and the effective completion of graphics design content. Moreover, conventional teaching and learning practice using textbooks, physical models, and pencil drawings were found to be insufficient for improving spatial visualisation skills among pre-service teacher students at a rural-university. These challenges formed the basis of the present study which focused on the relation and effect of prior spatial experience, gender, three-dimensional (3D) solid modelling software and different cognitive styles on the spatial visualisation skills of graphics design students at a rural–university. Students at this university are from disadvantaged and under-resourced schools and they arrive at university with little or no computer-based experience. Underpinned by Piaget’s perception and imagery theory, the study determined the effect of 3D solid computer modelling on students’ spatial visualisation skills. The study was carried out at the University of Zululand (UNIZULU) a rural-based university, comprising 200 pre-service teachers undertaking a graphics design module. Research method included mixed methods sequential research design. The study employed a spatial experience questionnaire, the Purdue Spatial Visualisation Test and semi-structured interviews to evaluate students’ prior spatial experiences, gender differences, spatial visualisation skills and cognitive styles before and after a 3D solid computer modelling intervention. Based on the research focus, the findings showed no relation between prior spatial experience, gender and spatial visualisation skills, however, mathematics and sketching activity emerged as strong predictors for spatial visualisation. The findings also showed that there was a significant difference with a moderate positive effect in the spatial visualisation skills between the students in the experimental group and those in the control group. As a consequence, a model was developed, aimed at improving rural-based instruction and learning for 2D to 3D drawing.