La ricerca ricostruisce la complessa e multiforme personalità artistica di Lodovico Pogliaghi - pittore, scultore, ornatista, illustratore attivo tra la fine dell’Ottocento e la prima metà del secolo successivo - inserendola all’interno dello scenario internazionale. Muovendo dall’attività di illustratore sono emersi i rapporti dell’artista, oltre che con la tradizione e la pittura di storia, con la fotografia, la cartellonistica e il cinema delle origini, in un fitto dialogo tra cultura ‘alta’ e nuove istanze della comunicazione in funzione del pubblico di massa. / The research reconstructs in the international historical and critical frame the complex and wide artistic personality of Lodovico Pogliaghi - painter, sculptor, decorator, illustrator active from the end of nineteenth to the mid-twentieth century. His illustrations reveal artist’s relationships to tradition, history painting, photograph, poster art and silent cinema in a continuous dialogue between high culture and innovative request of visual communication.

Jon Stewart, the anchor and purveyor of “fake news,” has catapulted television's The Daily Show into prominence. The show functions as both a source of political humor and a vehicle for political commentary. This thesis explores how the program visually and rhetorically problematizes the hegemonic model of traditional television news, and how it tips the balance between what is considered serious news and what has become cliché about the broadcast industry.

A daily newspaper’s main purpose is to inform its readers without creating noise. Theimportance of the visual presentation is therefore of weight for an effectivecommunication process. This study informs about the importance of typography inthe visual decoding process. The study includes the Swedish newspaper DagensNyheter’s transition from printed media to digital media adapted to an Ipad. It alsoincludes what changes this transition has resulted in for the communication process. The study has been conducted through a qualitative content analysis, where acomparative process of the selected medias has occurred. The theories we have beenusing in the study were mainly from a typographic point of view focusing onreadability. Other than that we have made use of theories about visual communicationand theories of the digital media's impact on society. Our study shows that the transition from printed newspaper to digital newspaperadapted to an Ipad has taken typographical aspects into consideration whenpresenting the material. The convergence between printed media and digitalizedmedia has created a basis for interaction that makes the reader involved in theprocess. The former one-way communication has been replaced with a moreinteractive two-way communication where the user is more than just a receiver.

Bakgrund: Traditionell marknadskommunikation anses ha gått från att vara en envägskommunikation från företag till konsumenter, till en tvåvägskommunikation där konsumenter kan interagera med företag. Visuell kommunikation är ett verktyg inom markndskommunikation, där ett fokus kan ligga på värdeskapande. Det stora användandet av sociala medier har lett till att företag bör anpassa deras marknadskommunikation som kommunikationsstrategi till värdeskapande innehåll. Syfte: Syftet med studien är att undersöka vad mottagarna anser är ett värdeskapande innehåll i ett företags visuella kommunikation på Instagram. Metod: I denna studie har en kvalitativ fallstudie applicerats, där fem semistrukturerade intervjuer har utförts. Studien grundar sig i en deduktiv ansats med inslag av induktiv ansats. Slutsats: Mottagarna anser att ett värdefullt innehåll från företag på Instagram ska bestå av varierande bilder med nytänkande innehåll, och som reflekterar företagets personlighet. Den största del av bilder som publiceras av inredningsföretag ska inspirera mottagarna och det genom att företag placerar deras inredningsprodukter i en miljö. De bildelement som tycks påverka hur en bild uppfattas är färg, ljussättning samt om produkten är placerad i en inredningsmiljö. Dessa delar påverkar sedan om det leder till att mottagarna skapar en tolkning av en bild samt om en emotion skapas. Bildelementen kan ses som delar i en bilds helhet, och om en del fattas kan det påverka hur bilden uppfattas. / Background: Traditional marketing communications has gone from a one-way communication from organizations to consumers, to a two-way communication where the consumers can interact with organizations. Within marketing communication an visual marketing can be used as a tool to create value-adding content. The large consumption of social networks is a reason why organizations need to adapt their strategy regarding marketing communication towards value adding for the consumers. Purpose: The purpose of this study is to investigate what the reciever believes is valueadding content in a company’s visual communication on Instagram. Method: In this study a qualitative case-study have been applied, where five semistructured interviews have been conducted. The study is based on a deductive approach, with elements of inductive approach. Conclusion: The recievers thinks that value-added content from companies on Instagram should contain a diversity of images with content that is new thinking, and that reflects the company’s personality. The biggest part of images that is published by interior-companies should inspire the recievers, this by posting pictures where the company have placed their interior-products in an environment. The element areas that seem to influence how a image is recieved are through colours, lightning and the placement of interior-products in an environment. These parts affect how the respondents interpretate the picture and if an emotion is created. The element areas can be seen as parts of a wholeness in an picture, and if one part is missing it can influence how the picture is percieved.

Syftet med denna studie var att genom semistrukturerade djupintervjuer, med särskild fokus på visuella gerillakampanjer, kartlägga de av byråerna benämnda karaktärsdragen för gerillakampanjer samt byråernas arbetssätt för dessa kampanjer.Fem semistrukturerade djupintervjuer genomfördes på respektive respondents arbetsplats utvalda genom ett kombinerat strategiskt och bekvämlighetsurval.Resultaten visade tydliga karaktärsdrag för en gerillakampanj. Utifrån dessa har följande definition tagits fram: en gerillakampanj kännetecknas av att den saknar köpt medieexponering och ofta karaktäriseras av en kreativ, ofta situations- och miljöanpassad, utformning som på egen hand väcker stort intresse eller uppmärksamhet relativt mot den nyttjade budgeten i syfte att skapa djupare relationer med mottagaren.Arbetssätten för en visuell gerillakampanj och vanliga gerillakampanjer skiljer sig inte nämnvärt mot arbetssätten för en traditionell reklamkampanj. Vid framtagandet av en gerillakampanj görs juridiska överväganden om huruvida lagöverträdelser kan komma att krävas. Det framkom även att spridningen i efterhand av en gerillakampanj var viktig för att få så stort genomslag som möjligt genom nyttjandet av traditionell media. / The aim of this study was to identify the advertising agencies considered characteristics of guerrilla campaigns and agencies' working process on guerrilla campaigns, with the particular focus on the visual guerrilla campaigns, using semi-structured interviews.Five semi-structured in-depth interviews were conducted. Respondents were selected strategically.The results showed distinct characteristics of guerrilla campaigns. Based on these, the following definition were conducted: a guerrilla campaign is characterised by the lack of bought media exposure, a creative, often situational and environmentally adapted design, that without assistance from other sales promotions produce high interest or attention relative to the utilized budget, in order to create a deeper relationship with the recipient.The working methods of a visual guerrilla campaign and a regular guerrilla campaign do not differ remarkably from a traditional campaign. The study also showed that the spread of a guerrilla campaign was important for its effectiveness.

Design is reemerging again as an active system of enquiry for cultural production with a wide ranging set of methods - not only to address short-term formal problems and limited functions, but as a discipline that is uniquely placed in its relations to other fields of visual culture, special settings and textual production. A new generation of designers are currently reassessing the positions within graphics, product design and architecture and picking up loose ends of progressive historic developments.

This paper centres in and around words. I have incorporated words into my recent work in a variety of ways including drawing, Letraset, sound and fiction writing. The philosophical questions which arise through any use of language and the various ways of adopting these questions and words within a 'visual art' context is considered in a number of ways. These include The Voyager Interstellar Space Mission which was humankind's first attempt to communicate with other hypothesized populations, conceptual word-incorporating artists, writers of fiction and philosophers within whose work can readily be found an extreme vigilance towards language. Alongside this word exploration I will consider other processes through which I've made and continue to make, works of art. These processes include drawing and film/video. My drawings (which sometimes include words) will be addressed in terms of a crossover between the drawn line and words found in Raymond Carver's story Cathedral. This story made me think about what it means to 'be led' by somebody and how I'm led (by myself or perhaps those mysterious 'populations' the Voyager team of thinkers had in mind) when drawing. It also marks an interesting point in my discussion of a state of being 'without words.' In addition to words an important focus in this paper are the windows through which I've spent a lot of 'my life' looking at 'life pass by' (which are in many ways a physical reality corresponding to the metaphorical 'frame of language'). The time I've spent looking out windows over the past few years has resulted in. several film and video pieces in addition to my latest work (presented as the appendix of this paper) which comprises of a series of short stories. The paper opens with a quote by German philosopher Martin Heidegger: "Language is the house of Being. In its home man dwells." The enigmatic broadness of this statement is appropriate to the apprehensive and cautious attitude towards words found throughout the paper (also it mentions 'house' which immediately brings to my mind 'windows')

Thesis (Ph. D.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 22, 2009) Includes bibliographical references.

abstract: Traditional design education consists of three phases: perceptual, transitional, and professional. This study explored three independent variables (IVs) as predictors of success in the Transitional Phase of a visual communication design (VCD) program: (a) prior academic performance (as reported by GPA); (b) cognitive style (assessed with Peterson, Deary, and Austin's Verbal Imagery Cognitive Styles Test [VICS] and Extended Cognitive Style Analysis-Wholistic Analytic Test [E-CSA-WA]); and (c) learning style (assessed with Kolb's Learning Style Inventory [LSI] 3.1). To address the research problem and hypothesis, this study examined (a) the relationship between academic performance, cognitive style, and learning style, and visual communication design students' performance in the Transitional Phase; (b) the cognitive style and learning style preferences of visual communication design students as compared with other samples; and (c) how the resulting knowledge can be used to improve instructional design for the Transitional Phase in VCD programs. Multiple regression analysis revealed that 9% of Transitional Phase performance was predicted by studio GPA. No other variables were statistically significant predictors of Transitional Phase performance. However, ANOVA and t tests revealed statistically significant and suggested relationships among components of the independent variables, that indicate avenues for future study. The results are discussed in the context of style-based learning theory, and the cognitive apprenticeship approach to instructional design. / Dissertation/Thesis / M.S.D. Design 2011

The objective of this dissertation is to establish the notion that art can serve to create and communicate an awareness of the interconnectedness between people and nature. This study debates the theoretical similarities and differences in attitudes toward the planet as interpreted in the artworks of pre-history shamans and traditional societies, 20th century land and urban artists and contemporary environmentally concerned artists. The comparative findings suggest that attitudes of anthropocentricism, greed and power and a denial of Pantheism associated with agriculture, industrial and technological developments, have changed the human-nature symbiosis found in early societies. The creative component of this study has employed the processes of etching and embossing, digital image manipulations and the juxtaposition and layering of images to establish visual metaphors that communicate interconnectedness. Sculptures, billboards, prints and photographs as artworks of the conscience intend to shift socially and personally constructed perceptions from human-centeredness toward a symbiotic worldview. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)