Den här undersökningen har studerat hur Systembolagets plastpåses visuella kommunikation och marknadsföring sett ut och hur den har förändrats genom åren. Syftet var att skapa en förståelse kring förändringarna i relation till samhällets och marknadsföringens utveckling. Tanken var även att tillföra kunskap till historien om utvecklingen av visuell kommunikation och marknadsföring. Systempåsen har alltid varit en central del i företagets marknadsföring och funnits med i samma format under många årtionden, vilket gjorde området intressant för studiens syfte. Denna studie har genomförts med en kvantitativ innehållsanalys av Systembolagets plastpåse. För att behandla frågeställningen utgick studien från ett antal variabler som berört element, färg och kommunikation. Variablerna används för att identifiera förändringarna i plastpåsens visuella kommunikation och marknadsföring över tid, samt hur detta har förhållit sig till eller påverkades av samhälls- och marknadsföringsteoriers historia. Efter en förfrågan till Systembolaget blev empirin tilldelad, vilket bestod av över hundra systempåsar från 1970 till 2018. Vissa avgränsningar gjordes, såsom att enbart undersöka de Systembolagspåsar som är gjorda av plast och dess framsida. Detta på grund av att det är den sida som syns utåt och att det var då plastpåsen kom med den traditionella form som vi ser än idag. De resultat som gick att utläsa av studien var att en stor förändring skett från 70-talet till idag när det gäller påsens kommunikation. Uttrycken och budskapen har förändrats i takt med samhället och marknadsföringens utveckling. Det gick från ett rörigt uttryck till ett enhetligt. När påsen kom var det maffiga innehåll med stor variation. Under ett och samma årtionde varierade det till exempel mellan mängden bild, text och färg. Ett stort skifte skedde i uttrycken i början på 90-talet då ett och samma uttryck återanvändes och det gick att se ett tydligt samband mellan påsarna. Budskapen berörde aktuella ämnen från dess samtid under årtiondena, men framförallt anpassades budskapen efter marknadsföringens krav på en tydlig identitet och nya sätt att synas på. I och med utvecklingen mot ett samhälle där vi ständigt möts av nya reklambudskap. Budskapen gick därmed från att primärt kommunicera risker och säkerhet till att idag lägga ett större fokus på den egna verksamheten i sin kommunikation. / This study analyzed how the visual communication and marketing regarding Systembolaget’s plastic bags appearance and how it has changed over the years. The purpose with this study was to create an understanding regarding the alteration in relation to the changes in the development of society and marketing. The idea was to add knowledge to history regarding the development of visual communication and marketing. The plastic bag has always been a key part in Systembolaget’s marketing and has had the same overall formatthroughout the decades. What has been changed – on the other hand – is its graphic appearance. This leads to an interest to study how the design has developed in relation to societal changes, and thereby create a wider understanding of the history of visual communication and marketing as a field. This study has been conducted with a quantitative content analysis of Systembolaget’s plastic bags. Toaddress the question at issue this study used several variables that involved element, color and communication. This was to identify the changes of the plastic bag regarding visual communication and marketing over time, but also how it was related or affected by the history of society and marketing. After a query to Systembolaget the empirical data, which consisted of over a hundred plastic bags from Systembolaget between 1970 and 2018, was assigned to us. Certain delimitations have been done. We only examined the bags made of plastic, and only the front of the plastic bag. The results that could be read from the study were that there was a big change from the 70s until today, regarding the communication of the plastic bag. The expressions and messages has changed in the same pace as the development of society and marketing. When the plastic bag first came, the content had a big variation. The amount of images, text and color changed a lot during a decade. The message on the plastic bags concerned current topics from its present day. The main message went from communicating risks andsafety to today communicating Systembolaget’s vision as a company.

This essay proposes the comprehension of mechanisms that act in the right moment when the picture is taken; the profile is the analysis of photographic images from Japanese immigrants in the development of the photographs in Londrina City – state of Paraná, between 1930 and 1960. It aims to analyze the photographs and verify which of the three conditioning synecdoche factors acted on the Japanese photographers in the photo capture. The factors are: 1st Conditioning Synecdoche Factor – Grammar Literacy (the image elements are unconsciously framed by the initial direction of the individual language literacy, or from the left to the right or from the right to the left). 2nd Conditioning Synecdoche Factor – Kodak Manual (the image elements are unconsciously framed on the center of the frame by paradigm and also by a technical limitation imposition from the time, that conducted centering the main object to preserve a secure register of the event, once there was a risk of burning the images edge). 3rd Conditioning Synecdoche Factor – Technology + Rule of Thirds (the image elements are consciously framed in any part of the frame since it’s possible to fulfill the edges of the frame by technology, added to the options of positioning the objects in the golden ratio spots, revealing a graphic pattern tuned with the aesthetic harmony). / Esta dissertação propõe compreensão dos mecanismos que agem no momento da captura fotográfica; o recorte é a análise das imagens fotográficas dos imigrantes japoneses, no desenvolvimento da fotografia no município de Londrina-PR, entre os anos de 1930 a 1960. Tem o objetivo de analisar as fotografias e detectar qual dos três fatores sinédoque condicionantes agiu sobre os fotógrafos japoneses na captura fotográfica. Os fatores são: 1º Fator Sinédoque Condicionante – Alfabetização Gramatical (os elementos da imagem são enquadrados inconscientemente pela direção inicial da alfabetização do idioma do indivíduo, ou seja da esquerda para direita ou da direita para a esquerda). 2º Fator Sinédoque Condicionante – Manual Kodak (os elementos da imagem são enquadrados inconscientemente no centro do fotograma por paradigma e também por uma imposição da limitação técnica da época, que orientava centralizar o objeto principal para preservar um registro seguro do evento, pois corria-se o risco de queimar as bordas da imagem). 3º Fator Sinédoque Condicionante – Tecnologia + Regra dos Terços (os elementos da imagem são enquadrados conscientemente em qualquer parte do fotograma, sendo possível através da tecnologia preencher as bordas do fotograma, somadas as opções de posicionamento dos objetos nos pontos áureos, revelando um padrão gráfico sintonizado com a harmonia estética).

Thesis (MTech (Graphic Design))--Cape Peninsula University of Technology, 2012. / University graduates entering the graphic design, advertising and publishing industries do so with the hand and digital illustration knowledge and skills that they acquired during their time of study. As a result of the ever-changing developments in technology, the parameters of hand-generated illustration within the visual communications industry have increasingly progressed toward digitally generated artwork. This thesis investigates the alignment or nonalignment between illustration teaching and learning practices in higher education and professional practice in the visual communications industry, with a view to identifying the gaps, and their causes, in the knowledge and skills of graduates entering the workplace. The study uses the lens of Activity Theory (Enqestrorn, 1987) to investigate practices in higher education and industry sites. Both the higher education and workplace investigation was guided by the research questions: 1) What comprises an activity system in the training of illustrators in higher education? 2) What comprises an activity system in professional illustrators' practice? and 3) How can the higher education and professional activity systems be aligned for their mutual benefit? The comparative study uses both quantitative questionnaire data and qualitative data derived from interviews conducted in both higher education and workplace sites, including the analysis of samples of illustration at both sites. The research reveals areas where there is both alignment and non-alignment and recommendations are made with a view to ensuring that illustration programmes in higher education are aligned as closely as possible to the needs of the workplace. The contribution made by this research is both theoretical and practical. The theoretical knowledge framework that has been developed outlines academics' and practitioners' of illustration theorising of current trends in both hand and digital illustration curricula in higher education and current trends and needs of digital and hand illustration in the visual communication industry. In broad terms, there is alignment with regard to technical skills and the tools used across both sites, while there is non-alignment with regard to knowledge of and preparation for the workplace and self employment, for example, time management, interpersonal skills and the acceptance of critique. The practical contribution is in the form of recommendations to curricula, which when applied should better prepare graduates with the practical and skills required of illustrators in the unpredictable, demanding world of work, which they encounter on leaving their academic institutions.

A dissertação tem como questão inicial o processo de comunicação entre instituições de pesquisa e a comunidade não científica, atentando para o papel mediador do designer gráfico. Recorreu-se a dois referenciais teóricos da Comunicação: o Design da Informação - no qual insere-se o estudo da infografia - e a Divulgação Científica. Foi também compilado um conjunto de soluções infográficas, buscando-se identificar aspectos que qualificam uma comunicação visual eficiente, investigando-se não apenas atributos estéticos, mas também de caráter cognitivo. Por fim, propôs-se um modelo de análise empírico para infográficos jornalísticos, que foi testado em corpus proveniente da revista Pesquisa FAPESP, publicação de Divulgação Científica editada pela Fundação de Amparo à Pesquisa do Estado de São Paulo. Os resultados gerados pelo modelo permitem visualizar as ênfases dadas, respectivamente, às seguintes funções de design: utilidade, precisão e satisfação; de forma que permita verificar a adequação do formato infográfico empregado ao conteúdo informativo - da reportagem - representado. / The initial inquiry of the dissertation is the communication process between research institutions and the non-scientific community, observing the mediating role of the graphic designer. Thus, the approach to two major theoretical references: Information Design - in which infography is inserted - and Scientific Popularization. In addition, a set of infographic solutions was compiled to exemplify aspects that qualify efficient visual communication, in an investigation of both aesthetic and cognitive attributes. Finally, an empirical analysis model for journalistic infographics is proposed, which was tested with a corpus taken from the Scientific Popularization magazine Pesquisa FAPESP, published by São Paulo Research Foundation - FAPESP. The achieved results from the model allow the visualization of the emphasis given, respectively, to the following design functions: utility, precision and satisfaction. Hence, it enables to verify the adequacy of the employed infographic format to the informational content represented.

Orientador: Jose Mario De Martino / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Eletrica e de Computação / Made available in DSpace on 2018-08-14T03:40:13Z (GMT). No. of bitstreams: 1 Costa_PaulaDornhoferParo_M.pdf: 1768234 bytes, checksum: 4f592fb36058804db54ffed874fc1ca3 (MD5) Previous issue date: 2009 / Resumo: A animação facial por computador sincronizada com a fala permite a implementação de cabeças virtuais que podem contribuir para tornar interfaces humano-computador mais eficientes e atraentes. O presente trabalho apresenta um método de síntese de animação facial 2D baseado em imagens cujo desenvolvimento foi guiado por dois objetivos principais: a reprodução realista da movimentação articulatória visível da fala, incluindo os efeitos da coarticulação, e a possibilidade de implementação do método mesmo em plataformas com capacidades limitadas de processamento e memória, tais como celulares e assistentes pessoais digitais. O método desenvolvido baseia-se em uma base de imagens de visemas dependentes de contexto para o Português do Brasil e adota a técnica de metamorfose entre visemas para a síntese da animação facial. A abordagem proposta representa uma estratégia de síntese alternativa e inovadora, capaz de reproduzir a movimentação articulatória visível da fala, incluindo os efeitos da coarticulação, a partir de uma base de apenas 34 imagens. O trabalho inclui a implementação de um sistema piloto integrado a conversor texto-fala. Adicionalmente, o método de síntese proposto é avaliado através de teste de inteligibilidade da fala. Os resultados desta avaliação indicam que a informação visual fornecida pelas animações geradas pelo sistema contribui para a inteligibilidade da fala em condições de áudio contaminado por ruído. Apesar do trabalho estar restrito ao Português do Brasil, a solução apresentada é aplicável a outras línguas. Palavras-chave: Computação Gráfica, Animação Facial, Visemas, Coarticulação, Metamorfose / Abstract: Speech synchronized facial animation allows the implementation of talking heads that potentially can improve human-computer interfaces making them more efficient and attractive. This work presentsan image based 2D facial animation synthesis method whose development was guided by two main goals: the realistic reproduction of visible speech articulatory movements, including coarticulation effects, and the possibility to implement the method also on limited processing and memory platforms, like mobile phones or personal digital assistants. The developed method is based on an image database of Brazilian Portuguese context dependent visemes and uses the morphing between visemes strategy as facial animation synthesis technique. The proposed approach represents an alternative and innovative synthesis strategy, capable of reproducing the visible speech articulatory movements, including coarticulation effects, from an image database of just 34 images. This work includes the implementation of a pilot system integrated to a text-to-speech synthesizer. Additionally, the proposed synthesis method is evaluated through a speech intelligibility test. The test results indicate that the animations generated by the system contribute to improve speech intelligibility when audio is degraded by noise. Despite the fact this work is restricted to Brazilian Portuguese, the presented solution is applicable to other languages. Keywords: Computer Graphics, Facial Animation, Visemes, Coarticulation, Morphing / Mestrado / Engenharia de Computação / Mestre em Engenharia Elétrica

Em seu estágio atual a cartografia se encontra dividida em dois ramos: a cartografia sistemática com representações padronizadas e linguagem técnica e a cartografia temática - com variados tipos de representações gráficas que, apesar de não serem padronizados, possuem princípios que as norteiam. Os mapas, por seu conteúdo intrinsecamente visual, estiveram muitas vezes relacionados à arte. A harmonia entre linhas, cores, textos e alegorias, muitas vezes fez surgir indagações sobre a participação da arte nos mapas. A cartografia mostra que o equilíbrio visual está além da apreciação do belo e, na verdade, está associado à comunicação e à funcionalidade. Os aspectos artísticos presentes nos mapas não estão relacionados mais à arte, mas ao design gráfico. / Currently the cartography is divided into two branches: a systematic cartography - with standardized representations and technical language - and thematic cartography - with varying types of representation which, although not standardized, have principles that guide them. Maps, for its content intrinsically visual, were often related to art. The harmony of lines, colors, text and allegories, often has raised questions about the participation of art in the maps. The cartography shows that the balance is beyond the visual appreciation of beauty and, indeed, is associated with communication and functionality. The artistic aspects present in most maps are not related to art, but the graphic design.

O infográfico é uma ferramenta jornalística marcada pela quebra da linearidade do texto escrito e pela organização gráfica do conteúdo, com o objetivo de promover interesse e compreensão. Nos últimos anos, diagramas menos ilustrativos e mais analíticos vêm marcando um período de mudanças em sua produção. Esta pesquisa propõe um modelo para caracterização e avaliação de infográficos em contextos acadêmicos e jornalísticos, com a finalidade de orientar sua produção. O modelo foi testado como guia de análise de conteúdo, gerando conjunto de dados sobre o uso do recurso em veículos noticiosos brasileiros. / Infographics are journalistic tools distinguished by the non-linearity of the written text and the graphic organization of its content, aiming to increase the readers interest and understanding. In recent years infographics prioritizing analysis over decoration have been signalizing a transitional period in its production. This research proposes a model for characterization and evaluation of infographics for both academic and journalistic contexts, seeking to aid its production. The model has been tested as codebook for content analysis, generating data regarding their usage in Brazilian newspapers and magazines.

The purpose of this study is to examine how different cultures within clothing and fashion are featured in the magazine Vogues fashion reportages. The aim is to enlighten editors with infashion media of these cultural differences in order to increase diversity. To pursue the purpose of the study a qualitative approach was chosen where photographs were used as the data that later on was studied through an image analysis. The study looks at six different editions of the fashion magazine Vogue, which indicates a chosen research design as multiple case studies. The six Vogue editions are: US, Japan, Paris, Arabia, India and Brazil, in which clothes, color and context have been analyzed in each editions reportages. The editions Vogue US, Vogue Japan, Vogue Paris, Vogue Arabia, Vogue India and Vogue Brazil reportages wa sanalyzed and compared, and distinct cultural differences was seen in terms of color, cultural clothing and fashion contexts. While Vogue US, Vogue Japan and Vogue Brazil had a widerange in diversity regarding models with different appearance, which were light-skinned anddark-skinned, Vogue Arabia, Vogue India and Vogue Paris had not. Vogue Arabia, Vogue India, Vogue US and Vogue Japan were however diverse in the cultural clothing, where clothes that was shown in the reportages was a mix of different cultural clothes. The researchers therefore found Vogue US and Vogue Japan the most diverse.

Please read the abstract (summary) in the section 00front of this document / Dissertation (MA (Alternative and Augmentative Communication))--University of Pretoria, 2007. / Centre for Augmentative and Alternative Communication / MA / unrestricted

Denna uppsats behandlar frågorna om hur och varför ett typsnitt kan förmedla ett visst intryck, en känsla eller tonalitet på en webbsidas rubriker. Samt betydelsen av, som designer eller annan yrkesverksam inom området, att ha kännedom och medvetenhet kring typsnitt. Vi valde en kvalitav metod utifrån våra frågeställningar. Genom intervjuer och en fokusgrupp ämnar vi undersöka tre typsnitt från tre olika typsnittsfamiljer. Typsnitten vi specificerat oss på är Roboto (sans serif), La Parisienne (regular skript) samt Fifty four (display/dekorativ). Teoretiska utgångspunkter hämtas från tidigare studier inom ämnet, litteratur av sakkunniga samt data från empirisk undersökning som vi samlat in från intervjuer och en fokusgrupp. En webbsida, utvecklad i WordPress har varit ett praktiskt moment och har fungerat som en plattform för vår undersökning genom att presentera våra olika rubrikers typsnitt. Resultatet från vår undersökning visade att våra valda typsnitt på rubrikerna tolkades likvärdigt och att det är främst formen som avgör. Studien tydliggör även att typsnitt kan tolkas utifrån person och personlighetsdrag, genom grundkänslor, tidigare associationer, konnotation och majoritetens överensstämmande svar. Vi ser att kunskap om typsnitt har en central roll i den tidiga designprocessen. Med detta i åtanke blir det viktigt för designern att kunna behärska typografi och förstå dess kraft. / This essay addresses the questions about how and why a font can convey a certain impression, feeling or tonality on a website's headings. As well as the importance of being a designer or other professionals in the field, to have knowledge and awareness of fonts. We have chosen a qualitative method based on our questions. Through interviews and a focus group, we intend to study three fonts from three different fontfamilies. Roboto (sans serif), La Parisienne (regular script) and Fifty four (display /decorative). Theories are obtained from previous studies in the subject, we refer to literature by experts and the data comes from our empirical research that we have collected from our interviews and the focus group. We have developed a website in WordPress, that has been a practical element and has served as a platform for our research by presenting the fonts of our various headings. The results of this study showed that our selected fonts of the headlines were interpreted equally by our informants and everyone answers that it depends on what kind of a typeface it is. Fonts can be interpreted from many different perspectives, the form of a font affects people's interpretation a lot but also interpreted based on personality traits, through basic feelings, past associations, connotation and the majority's response which was consistent. The knowledge of fonts plays a central role in the early design process and it becomes important for a web designer to be able to master typography and understand its powers.