Esta pesquisa documenta e analisa uma série de trabalhos realizados pela arquiteta Odiléa Setti Toscano, entre o fim da década de cinqüenta e o início dos anos noventa, no âmbito do design visual: o design gráfico editorial vinculado ao trabalho de ilustração e o design ambiental de painéis e murais para espaços privados e públicos. / This paper documents a series of projects by architect Odiléa Setti Toscano from the late 1950s to the early 1990s, in the scope of visual design: editorial graphic design related to the work of illustration and environmental design of panels and murals for public and private spaces.

O campo de sinalização de parques urbanos requer metodologia de desenvolvimento de projetos com procedimentos transdisciplinares e complexos que pedem expertises variadas, desde aspectos objetivos como repertório técnico-construtivo e gráfico, até saberes mais subjetivos tais como a percepção espacial, antropologia do espaço e comunicação. A sistematização dos elementos componentes do projeto de sinalização auxilia na compreensão desta complexidade. A pesquisa elabora, fundamentada em revisão bibliográfica, um apanhado histórico da evolução técnica, de linguagem e dos elementos estruturadores em projetos de sinalização em parques urbanos. A partir deste repertório metodológico, analisa a sinalização em 06 parques no município de São Paulo que, em contextos diferentes, elaboraram respostas práticas a essa complexidade. / Signage in urban parks requires project development methodology with transdisciplinary and complex procedures that demand various types of expertise, ranging from objective aspects such as a technical-constructive and graphic repertoire, to more subjective knowledge such as spatial perception, anthropology of the space, and communication. The systematization of composing elements in the signage project helps understand this complexity. Using a bibliographical revision as a base, this research elaborates a historical overview of the techinical evolution, language and structuring elements in signage projects in urban parks. As a response to this methodological repertoire, it analyzes the signage in 06 parks in the city of São Paulo that have offered practical answers to this complexity, according to different contexts.

O objetivo deste trabalho é a leitura, interpretação e reconstrução de vinte obras do artista concreto e designer Antonio Maluf, em técnica dinâmica elaborada com aplicativo de animação digital, tendo em vista a análise da linguagem visual dessas obras por meio eletrônico. / This work\'s aim is reading, interpretation and reconstruction the concrete artist and designer Antonio Maluf\'s twenty paintings, by dynamic technique on digital software, looking for visual analysis language of those paitings by electronic media.

O Metrô de São Paulo faz parte do cenário cotidiano e da identidade de lugar de 4 milhões de passageiros por dia. Essa dissertação investiga de que modo e com quais motivações, o design de sinalização do Metrô de São Paulo - pioneiro e tido como exemplar sistema de informação pública no Brasil - foi alterado desde o seu estabelecimento no manual de identidade de 1981. A partir do método estudo de caso verifica-se de que forma os gestores atenderam às demandas dos usuários e do governo e, ao mesmo tempo, lutaram para tentar padronizar o sistema. Por fim, questiona-se o processo que resultou no redesign do sistema e suas consequências atuais e futuras para os usuários, pouco inseridos no processo de criação e validação dos projetos, mas que poderiam justificar ou não as mudanças ocorridas. / The São Paulo subway is part of everyday landscape and place identity of 4 million passengers per day. This thesis investigates how and with what motivations, the signage design of São Paulo subway - considered pioneering and exemplary public information system in Brazil - has changed since its establishment by the 1981 identity manual. Using the case study method it verifies how managers answered to user and government demands, while they struggled to standardize the system. Finally, it is questioned the process that resulted in the redesign of the system and its consequences for current and future users, bit inserted in the creation and validation process of projects, but that could justify or not the changes.

Com este projeto de pesquisa, que faz parte do Programa de Mestrado em Ciências da Comunicação, na Área de Concentração III - Interfaces Sociais da Comunicação da Linha de Pesquisa Políticas e Estratégias de Comunicação, buscou-se identificar e analisar os conteúdos verbais e imagéticos de campanhas na área de educação em saúde, em especial, sobre o diabetes, presentes em eventos do Dia Mundial do Diabetes ou relacionados a este, nos anos de 2010 e 2011. Essas campanhas foram realizadas por instituições de saúde públicas e privadas da cidade de São Paulo com materiais patrocinados e/ou veiculados por empresas farmacêuticas e de alimentos que utilizaram o design para organizar as mensagens sobre prevenção de enfermidades e/ou adoção de comportamentos saudáveis. A análise dos conteúdos das peças impressas das campanhas teve por base as teorias de comunicação social e linguagem visual. / With this research project, that participates in the Master Program in Communication Sciences, in the III Area of Concentration - Social Interfaces of Communication from the Main Line of Research Policy and Strategies of Communication, we sought to identify and analyze the content of verbal and pictorial campaigns in the health education area, particularly about diabetes, present in the World Diabetes Day events or related to this, occurred in 2010 and 2011. These campaigns were carried out by public and private health institutions of the city of São Paulo with materials sponsored and/or distributed by pharmaceutical and food companies that used the design to organize the messages about disease prevention and/or adoption of healthy behaviors. The analysis of the contents of the printed pieces of the campaigns was based on theories of social communication and visual language.

Este trabalho buscou fazer recortes a partir de pesquisas bibliográficas em dados secundários históricos para elaborar uma linha cronológica da ornamentação, deste a pré-história até a década de 1990. Para atingir o objetivo especifico, foi necessário fazer recortes na história mundial, nas comunicações visuais, nas vestimentas e na ornamentação para que fosse possível elaborar as interfaces de todos os dados obtidos, saber como cada tópico influenciou no emprego de materiais, técnicas e também o uso dos ornamentos por parte de cada individuo. Os ornamentos caracterizam mundialmente os diferentes grupos e culturas e este é um relevante fator de estudo que pode ser muito abrangente em seus mais diversos aspectos. Sendo assim, sabe-se que a vestimenta, mais tarde vista como moda, estabelece uma relação entre pessoa e objeto; os indivíduos consomem a vestimenta pela necessidade da utilização da indumentária, podendo-se atribuir a ela uma diferenciação visual social. Paralelamente à vestimenta, há os ornamentos, detectados na vida do homem desde os primórdios, que atravessaram toda a história da humanidade até a sua chegada aos tempos atuais, na condição de serem requisitos tão necessários tanto quanto a própria vestimenta / The present article aimed to make cuts from library research in historical secondary data in order to elaborate a chronological line in ornamentation, since pre-history to the late 1990s. To achieve the specific purpose, it was necessary to make cuts in world history, in visual communications, clothing and adornment in order to make it possible to elaborate the interfaces of all obtained data, knowing how each topic influenced the use of materials, techniques and also use of ornaments by each individual. The ornaments worldwide characterize the different groups and cultures and this is a significant study factor that can be very broad in its various aspects. Thus, it is known that the garment later seen as fashionable, establishes a relationship between the person and the object; the individuals consume garment by the need for the use of clothing, and it may be attributed to it a social visual differentiation. In parallel to garment, there are the ornaments, detected in human life from the very beginning that have gone through the entire history of humanity until their arrival in the present times, in a condition to be requirements as necessary as the garment itself

Esta tese investiga a relação simbólica entre cor e marca, manifestada na comunicação visual estratégica marcária, e os vínculos de sentido que (co)produz junto aos públicos. Os objetivos são: identificar, analisar e classificar os modos em que as cores significam marcas (os potenciais efeitos da cor sobre os indivíduos-consumidores) e os usos estratégicos da cor, pelas marcas (as funções para as quais as marcas utilizam as cores) e, relacionando os modos e os usos, propor uma tipologia dos discursos cromáticos de marca, inspirada na tipologia semiótica do discurso, de Charles W. Morris (1946). A literatura transdisciplinar acadêmica e de prática de mercado foi combinada com os achados da pesquisa de campo - entrevistas em profundidade (com especialistas em comunicação, gestão e design de marcas), visitas de observação e coleta de artefatos físicos e digitais. Foram delimitados cinco modos da cor significar uma marca (atentivo, designativo, apreciativo, prescritivo e transformativo) e quatro principais usos que as marcas fazem das cores (informativo, avaliativo, incitivo e sistêmico). Ao final, foram distinguidos e exemplificados 13 tipos de discursos cromáticos de marca, conforme o modo e o uso proeminentes, que se revelaram interdependentes e não excludentes / This thesis investigates the symbolic relationship between colors and brands, manifested in strategic visual communication, and the signification it (co)produces with the audience. The research purposes are to identify, analyze and classify the modes in which colors signify brands (the potential effects of color on consumers) and the strategic usages of color by brands (the purposes for which brands use colors) and, relating the modes and the uses, to propose a typology of brand chromatic discourses, inspired in the semiotic typology of discourse, by Charles W. Morris (1946). The transdisciplinary academic and industry literature was combined with the field research findings - from in-depth interviews (with brand communicators, managers, and designers), participant observations, and physical and digital artifacts collection. Five color modes of signifying a brand (attentive, designative, appraisive, prescriptive and transformative) and four primary color usages by brands (informative, valuative, incitive and systemic) are distinguished. Finally, 13 types of brand chromatic discourse, interdependent and non-exclusive, are delineated and exemplified, according to their dominant signification and use.

Gaze to discover is the approach a viewer should take as s/he encounters the work within this exhibition. The main idea is that the work should be interactive. Developing this interaction is the objective of each piece. To engage viewers to interact with a piece of art coincides with the ability to acquire their undivided attention. The realization that it is difficult for a viewer to have a tangible interaction with artwork in a gallery setting leads to asking the viewer to interact visually, "to look fixedly" - to gaze (Webster's Dictionary). Gazing at the work will direct the viewer to discover; "to gain knowledge through observation, study, or search" (Webster's Dictionary). The desired outcome is a personal relationship with each piece observed. Games, play, and visual interaction are what this installation addresses. The familiar vessel forms chosen draw the attention, but the alliteration imagery keeps the viewer intrigued. With the help of a game card, a viewer is left with a puzzle to solve only obtainable through the gaze to discover. / by Tabitha Pennecamp. / Thesis (M.F.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

This thesis will explore the vital importance of empathy on the part of graphic designers when creating information graphics. Today’s over-mediated public expects a rich user experience that is emotionally engaging, and multi-sensory by nature. To meet the public’s need, graphic designers must accept the cognitive responsibility to be empathetic to the viewers’ relationship to the information, and not just the surface issues of form, media, and content. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2015 / FAU Electronic Theses and Dissertations Collection

This practiced-based thesis examines how a new Visual Communication methodology helps interaction designers to improve their future designs. This is achieved by engaging in creating visual interpretations from a lived experience that they need to design for, to reveal the phenomenological essence of what users have actually experienced, rather than what they say they have. This new Visual Phenomenological Methodology (VPM) places interaction designers into a specific communicational situation, in order to understand the phenomena of users’ lived experience ‘through their eyes.’ Thus immersed, interaction designers montage visual interpretations of what users saw/felt/did in the lived experience. The VPM facilitates interaction designers into designer-interpreters, who can interpret sensory data into a behavioural story of what its like to be the user in a lived experience. This thesis has developed the VPM across three peer reviewed, practice-based projects, using a synthesis of the pragmatic semiotics of Peirce, Hermeneutic Phenomenology, and visual communication techniques. Following the Frascaran view that the design discipline of Visual Communication (graphic design and illustration) is a positive facilitator of behavioural change, the VPM employs this hermeneutic-semiosis synthesis to facilitate interaction designers to develop a deeper and emergent understanding of the hidden motivations behind user behaviour. Through a contextual review into Visual Communication, Interaction Design, Phenomenology and Semiosis, this thesis develops the VPM from a theoretical concept, to a set of designer-friendly method cards that interaction designers can employ during their ideation phase. Throughout its development the VPM and its method cards were workshopped and peer reviewed by interaction designers. This thesis, over the following seven chapters, demonstrates how the VPM successfully provided Visual Communication design with a fresh way to re-influence Interaction Design, as a new contribution to knowledge.