Como não há pleno consenso, atualmente, entre as múltiplas definições dos conceitos de \"design\" e de \"design de produto\", as fronteiras do campo de atuação do designer de produto resultam percebidas e determinadas, em grande parte, por exemplos visuais veiculados por livros, revistas e jornais acessíveis ao grande público e a estudantes, designers ou aqueles envolvidos com esta área de projeto. Uma observação inicial, anterior a esta pesquisa, percebeu que em publicações de design ilustradas, havia hipertrofia na representação de certos produtos de design e rarefação na de outros, situação que podia chegar, no limite, à inexistência de referência até mesmo de produtos familiares e comuns. A presente investigação se propôs, assim, quantificar, objetivamente, este desequilíbrio na representação de produtos existentes em bibliografia da área, por meio de contagem das imagens de objetos em livros de design. A par desta contagem de ocorrências de imagens de produtos, foram também identificadas, claramente, em outras fontes, situações de forte demanda da atividade do design de produto na vida cotidiana de sociedades contemporâneas. Estas demandas, ao final da pesquisa, apontaram para a existência de um espectro mais amplo e objetivo do campo do design de produto o que permitiu aferir, por comparação, se havia fidedignidade no mapeamento do campo, como havia sido delineado pelo levantamento numérico de imagens. Na primeira parte do problema deste estudo, foi conduzida uma extensa contagem direta de imagens de objetos de design de produto, do modo como estes se apresentavam na bibliografia. Esta bibliografia foi selecionada após o estabelecimento de critérios nítidos, antecipadamente definidos. Com a finalidade de efetuar contagem dos produtos de maneira organizada, foram estabelecidas categorias às quais cada objeto foi alocado por suas características. Os resultados das contagens foram traduzidos em tabela e gráficos, que permitiram fazer comparações numéricas (digitais) e visuais (analógicas) entre as diversas categorias de produtos contabilizados ou entre os vários livros selecionados ou ainda entre categorias de produtos em um mesmo dado volume e, sobretudo, em uma terceira fase, entre os produtos contados quando confrontados com necessidades reais, que podem ser atendidas pelo design de produto. Estes dados de realidade estão amparados em números oficiais. 7 As análises, assim conduzidas, permitiram concluir que, de fato, interpretações mais comuns acerca da natureza e dos limites do campo do design de produto se revelaram severamente distorcidas. Adicionalmente, a consulta aos livros ilustrados de design de produto indicou que existe certo modelo de seleção de imagens, tomado por padrão contemporâneo do design, que tende a ser mimetizado entre obras bibliográficas. Esta distorção pode acarretar, assim, efeitos compreensivelmente indesejáveis do que seja design no entendimento de clientes em potencial. O mesmo fato pode afetar negativamente a percepção de alunos, designers, professores, profissionais de áreas afins e ainda daqueles que modelam políticas relativas ao design, que tomam conhecimento de uma realidade apenas parcial do campo do design de produto, mediada e filtrada por decisões editoriais orientadas por ênfases reducionistas acerca do espectro real e possível da atividade. / Since, presently, there is no consensus with regard to various definitions of the concepts of \"design\" and \"product design\", the boundaries of the product designers\' field are perceived and shaped, to a great extent, by visual examples supplied by books, magazines and newspapers that are accessible to the general public, as well as to students, designers, and to those in any way connected to the design area. Initial research conducted before this one showed that in illustrated design publications, certain design products were presented in an excessive way, while others barely appeared, a situation that could reach the point of no representation at all of even familiar or common products. The present study is meant to measure, therefore, in an objective way, the lack of balance in the presentation of products in the design bibliography, by counting pictures of the objects in design books. Simultaneously with thepicture counting, an effort was made while using different sources of information to clearly identify situations of strong demand for product designer skills in everyday life of contemporary societies. These demands, at the end of this study, pointed towards a much broader and objective spectrum of the field of design, which permitted, by comparison, checking how true to reality was the portrait of product design presented by the counting of pictures. In the first part of this research, an extensive counting of design products was done, taking into consideration in the bibliography the way in which they were presented. This bibliography was selected after clear criteria of choice were established. With the purpose of counting products in an organized way, categories were established where each object would fit, depending upon its particular characteristics. The results of the counting were translated to a table and several graphs, which allowed for making numerical comparisons (digital) or visual comparisons (analogical) between several product categories, in general, and between data in several books, several product categories in the same book, and most importantly, the results allow for comparing the numbers of the counting to real needs that can be answered by product design. The real life situation data is supportedby official numbers. 9 The analysis thus conducted, in fact, led to the conclusion that the usual interpretation concerning the nature and limits of the field of design suffered from severe distortion. Additionally, the examination of design books revealed a certain bias in image selection, and this is taken as the contemporary model of what design should be and tends to be copied by other similar books. Therefore, this distortion may understandably lead to undesirable effects on potential customers\' understanding about what the meaning of design is. The same misunderstanding may negatively affect the way the subject is perceivedby students, designers, teachers, professionals working in similar areas and also by those who are responsible for shaping political decisions concerning design: they get in touch with only a partial reality of the field of product design, a reality that suffers mediation and filtering of editorial decisions that decide which is the real and possible spectrum of the design field, oriented as they are by a reductionist emphasis.

Esta pesquisa aborda o design do livro tátil ilustrado, uma obra que possibilita a inclusão do leitor com deficiência visual. A investigação está centrada no modo como a mensagem é expressa no texto e na imagem, a partir do entendimento da tipografia, da diagramação, da linguagem empregada na ilustração e da produção gráfica. O objetivo da pesquisa é discutir sob a ótica do design a produção atual desta categoria de livro, entendendo-se que o livro tátil ilustrado configura-se como um objeto multissensorial que explora, principalmente, a percepção tátil, sendo esta um recurso também utilizado no despertar da curiosidade do leitor em fase de alfabetização. Para o leitor, principalmente, o cego, é importante desenvolver a sensibilidade tátil ainda na infância, por isso o livro físico como uma fonte de informação é instrumento fundamental de formação perceptiva. Grande parte da produção do livro tátil ilustrado está vinculada a conhecimentos oriundos da pedagogia, desenvolvidos nos centros de assistência à pessoa com deficiência visual, muitas vezes, sem a participação integral do designer no projeto. Por esta razão, no Brasil, os livros oriundos de diferentes iniciativas assemelham- se e são caracterizados pela produção tradicional, seguindo a concepção de material didático para cegos. Recentemente, uma nova concepção de livros multissensoriais para crianças tem sido elaborada por um número restrito de editoras, fundamentalmente as europeias, que exploram diferentes técnicas de acabamento na obtenção da imagem tátil. Esta pesquisa parte da hipótese que grande parte das imagens presentes nos livros táteis ilustrados produzidos no Brasil não são interpretadas pelo cego. São apresentados os desdobramentos desta questão relacionados ao entendimento da imagem e do texto. Entre eles, indaga-se: a linguagem dos desenhos táteis estaria condizente com o leitor cego? A técnica de obtenção do relevo interfere no processo de leitura? O texto auxilia no entendimento da imagem? A composição rígida das páginas favorece a leitura? A ausência de estudos específicos sobre o livro tátil ilustrado no campo do design e as restritas publicações bibliográficas no âmbito da leitura háptica conduziram para o levantamento de campo: visita às escolas especializadas, visita aos museus acessíveis e leitura mediada junto ao público de interesse. Além disso, realiza-se a análise de seis obras com diferentes concepções de ilustrações táteis, sendo três nacionais: O Chapeuzinho vermelho, de Bia Villela, Abraço de urso, de Cláudia Cotes, Adélia sonhadora, de Lia Zatz; e três importadas: Ruvidino in piscina, do Istituto dei Ciechi di Milano, Des vers de travers, de Anette Diesen, e Petit souffle de vent, de Elisa Lodolo. As leituras têm o propósito de discutir a compreensão da imagem, do texto e a composição do livro. Esses livros são analisados a partir de referências do design gráfico e da percepção visual, com maior ênfase nas obras de Bruno Munari e Rudolf Arnhein. Por fim, produz-se uma série de trabalhos práticos de caráter experimental a partir de narrativas que suscitam ampliar a discussão do processo de projetar um livro tátil ilustrado. Os resultados mostram que grande parte das imagens táteis presentes nas publicações brasileiras não são compreendidas pelos leitores cegos, sendo que um conjunto de fatores associados corrobora para este resultado, entre eles, identifica-se a linguagem das ilustrações, a técnica de produção e ausência do concreto na relação do texto com a imagem. / This research addresses the tactile illustrated book design, a work that enables the inclusion of the reader with visual impairments. The research is centered on how the message is expressed in the text and the image, from the understanding of typography, the layout, the language used in the illustration and mass production. The aim of the research is to discuss from the viewpoint of design the current production of this book category, on the understanding that the illustrated tactile book figure as a multi-sensory object that explores mainly the tactile perception, this being a feature also used to arouse the reader\'s curiosity in the literacy phase.For the reader, especially the blind, it is important to develop a tactile sensitivity in its childhood, therefore the physical book as a source of information is a fundamental tool of perceptual training. A great part of the production of illustrated tactile book is tied to knowledge originating from pedagogy, developed at the assistance centre for visually impaired and very often without the full involvement of the designer in the project. For this reason, in Brazil, books from different initiatives are similar and are characterized by traditional production, in accordance with didactic material for the blind. Recently, a new concept of multi-sensory books for children have been developed by a limited number of publishers, primarily European, exploring different finishing techniques in obtaining the tactile image. This research starts from the assumption that most of the images presented in the illustrated tactile books produced in Brazil are not interpreted by the blind. Will be presented the developments on this issue related to the understanding of image and text. Amongst them: the language of tactile drawings would be consonant with that of the blind reader? The embossing technique interferes in the reading process? The text assists in the understanding of the image? The rigid composition of the pages stimulate the reading? The absence of specific studies regarding the tactile illustrated book in the field of design and the strict bibliographic publications within the haptic reading led to the field survey: visits to specialized schools, visits to acessible museums and reading mediated by the target public. In addition, the analysis of six books, each one with different conceptions of tactile illustrations, was carried out, being three of them national: O Chapeuzinho vermelho, by Bia Villela, Abraço de urso, by Cláudia Cotes, Adélia sonhadora, by Lia Zatz; and three from abroad: Ruvidino in piscina, by Istituto dei Ciechi di Milano, Des vers de travers, by Anette Diesen and Petit souffle de vent, by Elisa Lodolo. The readings are meant to discuss the understanding of image, text and the book\'s composition. These books are analyzed based on references brought from graphic design and visual perception, with greater emphasis on the works of Bruno Munari and Rudolf Arnhein. Finally, it was produced a series of practical work of an experiential nature from narratives which intend to broaden the discussion about the process of designing a tactile illustrated book. The results demonstrated that the majority of tactile images present at Brazilian publications are not understood by blind readers - a set of associated factors corroborates to this result: the illustration language, the reproduction technique and absence of concrete in the relation between text and image.

Cette thèse porte sur les livres auto-illustrés réalisés par l'Autrichien Alfred Kubin (1877-1959), le Tchèque Josef Váchal (1884-1969) et le Polonais Bruno Schulz (1892-1942). En rapprochant les œuvres de ces auteurs et illustrateurs relativement méconnus et considérés comme marginaux selon les canons culturels de leur époque, ce travail souhaite démontrer qu'un paradigme se fait jour dans la pratique de l'auto-illustration et l'imaginaire du livre qui lui est associé. En tenant compte du contexte de la culture centre-européenne dans l'entre-deux-guerres et de la dimension technique de l'histoire du livre, dont les enjeux coïncident avec les réflexions contemporaines sur l'originalité et la reproductibilité mécanisée, la thèse définit la démarche d'auto-illustration comme la quête d'un « livre total de pacotille ». Mais il s'agit aussi de lui donner un cadre théorique en se focalisant sur l'analyse des rapports entre le texte et l'image afin de révéler certains traits récurrents qui défient le processus d'illustration classique : l'antériorité ou la simultanéité de l'image, qui permet l'information mutuelle des codes iconique et linguistique sur la page ou la favorise dans le texte, inverse aussi le principe de « transposition » inhérent à l'illustration, voire l'excède pour lui substituer un « dialogisme » intersémiotique. Ces phénomènes confirment l'importance du geste réflexif présidant à l'auto-illustration, qui suppose une hyperconscience du dispositif illustré mais prend aussi en compte l'omniprésence transgressive du créateur, qui envahit les seuils de l’œuvre, se figure en texte et en images, et en auteur, illustrateur, narrateur et personnage(s). / This dissertation deals with self-illustrated books by the Austrian Alfred Kubin (1877-1959), the Czech Josef Váchal (1884-1969) and the Pole Bruno Schulz (1892-1942). Comparing the works of these writers and illustrators, who are not quite famous and were considered to be on the margins of the cultural models of their time, the dissertation shows that a creative paradigm is to be found through self-illustration and the book imagery that goes with it. Taking into account the context of central-european culture during the interwar period, and the technical aspects of book history, which are linked to contemporaneous debates about originality and technical reproductibility, this study defines the production of these writers-ilustrators as a search for a « cheap total bookwork ». It is based on a theoretical framework which focuses on the relations between text and image in order to reveal recurring features which challenge the classical illustrating process : images being produced prior to or at the same time as the text provide for the mutual exchange of properties between words and pictures on the page and in the text itself. This practice also reverses the principle of « transposition » inherent to illustration, or even replaces it with an intersemiotic « dialogism ». These phenomena confirm the importance of the reflexive nature of self-illustration : not only does it require a high level of awareness of the illustrated apparatus but it also explains the transgressive omnipresence of the creator who invades the « paratext » and represents himself in texts and images as writer, illustrator, narrator and character(s).

Inom militär flygindustri är produktdatahantering i produktlivscykeln och utveckling av logistikstöd centrala områden för att hantera krav och kostnader. Senaste strategin för dessa utmaningar grundar sig i modellbaserat konstruktionsunderlag – model-based definition (MBD). I detta perspektiv står disciplinen teknikinformation inför förändringsarbetet att utnyttja möjligheterna med MBD. Förbättringar i presentationsmetod för illustrationer och effektivare arbetsmetoder för produktion förväntas. Detta förändringsarbete undersöktes genom en fallstudie av Saabs konceptutveckling för teknikinformation till stridsflygplanet Gripen NG. Studien fokuserade på publikationstypen reservdelskatalog och användningen av den. Arbetet bidrar med en modell som beskriver fyra nivåer för design av informationssystem, varav nivån presentation är i fokus. Därtill undersöks jämförbara arbetsmetoderför hantering av MBD-data inom fallet. Studien fann att teknikinformationsavdelningen står inför en övergång från dokumentbaserad förvaltning till utveckling av informationssystem. Därefter diskuteras tre förslag för nästa generations reservdelskatalog. Det mynnar ut i två slutsatser: dels att en bristfällig bild av reservdelskatalogens användning gör det svårt att bedöma nya presentationsmetoders lämplighet, och dels att förbättringarna gjorda i arbetsmetod och presentationsmetod vid MBD-införande på andra områden i produktlivscykeln inte är direkt överförbara på reservdelskatalogen. Till följd av detta presenteras förslag på framtida forskning och arbete. / In the military aerospace industry, product data management in the product lifecycle, and development of logistics support are key areas that affect management of requirements and costs. The most recent strategy for these challenges is model-based definition (MBD). The discipline of technical communication has yet to explore and exploit the potential of MBD. Expected benefits include better ways of presenting illustrations and more efficient methodologies for production. This problem was investigated through a case study of the concept development of technical communication for Saab's fighter aircraft Gripen NG. The study focused on the illustrated parts catalog and its use. This work contributes with a model that describes four design levels for information systems, where presentation is the one in focus. In addition, comparable practices for management of MBD data were investigated in the case. The study found that the technical communication department is facing a transition from document-based management to development of information systems. Furthermore, three proposals for the next generation of parts catalogs are discussed. Two conclusions were reached. First, a lack of knowledge regarding the use of the parts catalog makes it difficult to assess new ways of presentation. And second, the improvements made in methodology and presentation in other MBD applications of the product life cycle are not immediately transferable to the parts catalog. Hence, suggestions for future research and work are presented.

L’intensité de la crise nouée autour de l’affaire Dreyfus n’est plus à démontrer. La presse y joue un rôle majeur. Les caricaturistes, en particulier, alimentent de leurs images les quotidiens et périodiques, des ouvrages, cartes postales et affiches. La palette des styles est large. Lorsqu’ils vont au-delà de l’hésitation – moment très court pour certains –, ils placent souvent leurs contributions dans un engagement construit, entre attaques et ripostes. Quand certains restent indécis ou indifférents, d’autres prennent le parti d’en rire. On constate aussi des pratiques de duplicité. À une époque d’âge d’or de la presse, l’iconographie de l’affaire Dreyfus se déploie dans de très nombreux journaux. Interrogées depuis les préludes de l’Affaire, les images donnent à voir une société tourmentée par la défaite de 1870, un patriotisme parfois nourri d’un esprit de revanche, une République trentenaire instable. Elles révèlent aussi la montée très démonstrative de l’antisémitisme et d’un nationalisme à multiples facettes, revigoré par la crise, qui fourbit ses armes contre le régime. Cette thèse examine en priorité le parcours des imagiers, afin d’apprécier l’impact de l’Affaire sur leur art. En second, elle explore comment ont évolué les figurations d’acteurs importants de l’Affaire, en particulier Émile Zola, Joseph Reinach et Henri Rochefort. / The intensity of the crisis brought about by the Dreyfus affair is a proven fact. The press plays a major role. Caricaturists, in particular, contribute their images to daily and periodical publications, books, postcards and posters. The range of styles is wide. After some hesitation – which can be very short - their contributions are constructed engagements of either attack or defence. While some are undecided or indifferent, others resort to humour. We can also see elements of duplicity. At a golden era for the press, iconography of the Dreyfus affair can be seen in numerous newspapers. The images, which have been analysed since the first signs of the Affair, show a society tormented by the defeat of 1870, a patriotism sometimes sustained by a spirit of revenge and an unstable thirty-year old Republic. They also illustrate the extremely demonstrative increase in anti-Semitism and in a multifaceted nationalism ; reinvigorated by a crisis polishing up its arms against the regime. This thesis studies, first and foremost, the careers of the caricaturists in order to appreciate the impact of the Affair on their art. Secondly, it explores the evolution of the presentation of major actors in the Affair; in particular Émile Zola, Joseph Reinach and Henri Rochefort.

No description available.

This study examines German illustrated broadsheets that were manufactured and published in the Holy Roman Empire between 1630-1633. They were part of a pro-Swedish media campaign launched soon after the arrival of the Swedish king Gustav II Adolf and the Swedish army in the Holy Roman Empire in June 1630 with the intention to legitimate the Swedish king’s presence in the Holy Roman Empire.  Inspired by Jan Glete’s notion about the early fiscal-military states as protection-selling enterprises, this study uses pro-Swedish illustrated broadsheets as a source material in order to examine how they were used to encourage German Protestants to buy Swedish protection. By looking for protection-selling arguments, this study wants to find out how Swedish protection was portrayed in the illustrated broadsheets. This study also makes a distinction between confessional and non-confessional protection-selling arguments, making it possible to distinguish which aspects of the protection-selling arguments that had a more religious character and vice versa. After the analysis of the source material, the protection-selling arguments are organised into various categories of representation, which enables the study to establish how Sweden and Gustav II Adolf were portrayed, and what they were claimed to represent in terms of protection.  The study concludes that the illustrated broadsheets portrayed Sweden and Gustav II Adolf as competent seller of protection who had the ability to protect its allies and co-religionists against aggression, religious oppression, plundering, murdering, destruction, the Devil and his collaborators, and consequences of the Edict of Restitution. Gustav II Adolf represents the Swedish state, and the illustrated broadsheets highlight his courage, competence as a political and military leader, and his Protestant devotion.  Their enemies are portrayed as dissident aggressors who represented religious oppression, plundering, murdering, destruction, heresy, devil-worshiping, and witchcraft. They were said to possess the negative qualities of hypocrisy and mortal sin, as well as an incapable military leadership.

No description available.

Fernand Léger a vilipendé la peinture "littéraire" et "narrative", mais n'a jamais cessé de côtoyer la poésie. En cela, il s'inscrit dans une tradition qui, depuis Manet, a affirmé l'autonomie de l'art par rapport à une culture reçue pour développer une attention extrême aux manifestations de la vie qui lui est contemporaine. C'est sur cette base, dans la séparation nette de l'art avec la culture bourgeoise, que s'est épanoui le rapprochement des peintres et des poètes depuis cette époque. Mais la "vie moderne" dont parle Léger est différente de celle à laquelle sont confrontés les artistes du XIXe siècle. Guerre, chaîne de montage et métropoles industrielles sont la toile de fond de sa collaboration avec Blaise Cendrars, de son interprétation des Illuminations de Rimbaud, ou encore de la création de son propre livre illustré, Cirque, que la thèse propose d'analyser. / Fernand Léger has long reviled "literary" and "narrative" painting, but never has ceased to cross words with poetry. In that regard he falls within a tradition in which, since Manet, the autonomy of art has been clearly asserted in relation to the imposed hierarchy and values of bourgeois culture, so that it can wholly focus on the manifestations of life of its time. It is on that basis, in the clear split separating art and bourgeois culture, that the bond between poets and painters has flourished since then. But what Fernand léger refers to as "modern life" has nothing to do with what the 19th century artists were exposed to. War, assembly lines and industrial metropolis compose the background of his collaboration with Blaise Cendrars, his rendering of Rimbaud's Illuminations or the making of his own illustrated book, Cirque, that this thesis proposes to study.

Hipólito José da Costa Pereira Furtado de Mendonça é considerado o primeiro jornalista brasileiro. Ao lançar em Londres, em 1º de junho de 1808, o Correio Braziliense ou Armazém Literário, também fundou a imprensa política em língua portuguesa. Seu periódico, que circulou todos os meses de junho de 1808 a dezembro de 1822, foi objeto de vários historiadores e comentaristas. Sua inserção nos quadros da maçonaria e a conseqüente passagem pelos cárceres da Inquisição, em Lisboa, também receberam alguma atenção de nossa historiografia. Contudo, a viagem que empreendeu em sua juventude à América do Norte ainda é tema praticamente inexplorado. Tratava-se de uma missão oficial, inserida no contexto de um ambicioso projeto desenvolvido pela Coroa portuguesa nas últimas décadas do século XVIII, com o intuito de modernizar a economia colonial. Ali o jovem naturalista deveria investigar inovações e adquirir conhecimentos úteis à diversificação da agricultura no Brasil. Agente desta política de Estado, Hipólito da Costa chegou aos Estados Unidos aos 24 anos de idade, em dezembro de 1798. Lá permaneceria até fins de 1800, registrando os percalços da missão e suas impressões sobre a jovem nação norte-americana em seu Diário da minha Viagem para Filadélfia. Este trabalho é uma tentativa de interpretar as representações que ele construiu sobre os Estados Unidos em seu diário de viagem, tendo este documento como base principal, mas não exclusiva. Também são utilizados textos que ele escreveu durante sua permanência na América do Norte e ainda escritos de sua maturidade, publicados no período de seu exílio em Londres. Ao cotejar estes escritos, a pesquisa segue a assertiva de que a viagem aos Estados Unidos foi um marco importante na trajetória de Hipólito da Costa e as idéias com as quais conviveu ali uma das matrizes de sua escrita e de seu pensamento político. / Hipólito José da Costa Pereira Furtado de Mendonça is considerated the first brazilians journalist. When launching the Correio Braziliense ou Armazém Literário, in Junes first of 1808, in London he has also founded the politicians press in portuguese language. His journal was been studied by several historians and commentators. His masonrys participation and the consequent ticket for the jails of the Inquisition, at Lisbon, also received some attention from our historiography. Meanwhile his youths North America travel remains an unexplored subject. It was an official mission, part of an ambitious Portuguese crowns project, developed in the last few decades of century XVIII, intending to modernize colonial economy. There, the young naturalist would have to investigate innovations and to acquire useful knowledge to brazilians agriculture diversification. Agent of this State politician, Hipólito da Costa has arrived at the United States at the age of 24, in December of 1798. He would remain there until 1800 ends, registering his mission profits and impressions about the young North America nation in his Diário da minha Viagem para Filadélfia. This job is an intention to interpret the North America representations he has build in his travel diary, taking it by main base, but not exclusive. Thats also been used his writings from North America stay and from his maturity, published during his London exile. When considering these writings, the research follows the assertive one of that the travel to the United States was an important landmark in the Hipólito da Costa trajectory and the ideas he has coexisted was one of the matrices of his writings and politician thoughts.