Esta pesquisa apresenta os projetos gráficos de três Jornais-laboratório - Entrevista, Matéria Prima e Primeira Impressão - de três universidades da Cidade de Santos, Litoral de São Paulo. Procura identificar avanços, estagnação ou retrocessos na linguagem gráfica desses produtos acadêmicos, e se os projetos gráficos dos periódicos constituem espaço de pesquisa e experimentação para novas linguagens gráfico-visuais no campo do Jornalismo. / This research presents the projects graphs of three Journal-laboratory - Entrevista, Matéria Prima e Primeira Impressão - of three universities from Santos-SP. She seeks identify improvements, stagnation or regressions on language graphic of this products academicians, and if the projects graphs from the periodicals are areas of research and experiment about to new graphs-visual languages into the field of the Journalism.

Made available in DSpace on 2016-04-26T18:17:15Z (GMT). No. of bitstreams: 1 Paula Faro.pdf: 1281195 bytes, checksum: c9911fdaa9e737cccb2931f7d15fb1ef (MD5) Previous issue date: 2008-05-16 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The language of video has been influencing the language of film; also, the relationship between cinema and video has been discussed by different authors. Based on these discussions, such as Arlindo Machado´s Pré-cinemas e Pós-cinemas (1997) and A Televisão Levada a Sério (2001), and Philippe Dubois s, in Cinema, Video, Godard (2004), as well as Raymond Bellour´s, in L´Entre-Images (1997), the article verifies how the language of video brought together the language of film and the language of music videos, and vice versa. In this context we want to analyze the encounter and the relationships between video, music videos and cinema. And identify the elements that bring these languages together contributing to the best understanding of contemporary tendencies / A linguagem do vídeo vem exercendo enorme influência na linguagem cinematográfica; e a relação entre cinema e vídeo tem sido discutida amplamente por diversos autores. A partir dessas discussões tais como as que Arlindo Machado propõe em Pré-cinemas e Pós-cinemas (1997) e A Televisão Levada a Sério (2001), as de Philippe Dubois, em Cinema, Vídeo, Godard (2004), e também as de Raymond Bellour, em Entre-Imagens (1997), a pesquisa verifica como a linguagem videográfica aproximou a linguagem do cinema à do vídeo clipe e vice-versa. Neste contexto, a pesquisa pretende analisar o filme Brilho Eterno de uma Mente sem Lembranças, e identificar nele os elementos de confluência entre as duas linguagens mencionadas, contribuindo assim para o melhor entendimento dessa tendência contemporânea. O procedimento metodológico a ser utilizado é o da análise da estrutura narrativa imagética com estipulações de elementos de comparabilidade entre as duas. Com base na reflexão feita por Cecília A. Salles em Redes de Criação: Construção da Obra de Arte (2006), pretende-se desenvolver uma análise não-linear das relações entre videoclipe e cinema em seus aspectos dinâmicos a partir de seus procedimentos de criação. A não-linearidade é um aspecto importante tanto do videoclipe como do filme contemporâneo; é, na verdade, uma das principais características para identificar a transformação na narrativa dessas formas culturais. A leitura não-linear e as relações estabelecidas entre ambas as linguagens permitem uma aproximação dos procedimentos de criação desses meios e um melhor entendimento sobre a forma como eles se relacionam a partir de suas características expressivas

<p>U okviru disertacije predložen je nacrt za generisanje efektne kompleksnosti<br />štampanog oglasa na osnovu generisanja kompleksnih tipografskih odlika i<br />generisanja kompleksnosti slike. Predmet disertacije predstavljao je razvoj<br />modela efektnosti tipografije u štampanim oglasima na osnovu uticaja<br />semantičih odlika, odnosno kompleksnih odlika formalnih atributa slovnog<br />znaka. Predložen model dopunjuje postojeći prilaz uloge tipografije u<br />oglašavanju u okviru segmenta uticaja kompleksnih oblika tipografskog pisma.<br />Na osnovu predloženog modela projektuje se onlajn aplikacija za procenu<br />efektnosti odnosa između kompleksnih tipografskih odlika i slike koja ima<br />praktični značaj za proces grafičkog dizajna.</p> / <p>This dissertation proposes a framework for generating effective complexity of print<br />advertisements based on the generated complexity of typeface properties and image<br />complexity. The subject area of the dissertation was a development of a model for the<br />effectiveness of typography in print advertisements. The model takes into account the<br />effects of typeface semantic properties i.e. complex features of the letter&rsquo;s formal<br />attributes. This approach updates the existing model of the role of typography in<br />advertising. Specifically, it updates the category on the influence of the form<br />complexity. Furthermore, based on the proposed model, a concept fora n online<br />application is presented. The purpose of the application a practical assistance for<br />graphic designers which provides information on the effectiveness of the relationship<br />between the complex typeface properties and image complexity.</p>

Esta pesquisa apresenta os projetos gráficos de três Jornais-laboratório - Entrevista, Matéria Prima e Primeira Impressão - de três universidades da Cidade de Santos, Litoral de São Paulo. Procura identificar avanços, estagnação ou retrocessos na linguagem gráfica desses produtos acadêmicos, e se os projetos gráficos dos periódicos constituem espaço de pesquisa e experimentação para novas linguagens gráfico-visuais no campo do Jornalismo. / This research presents the projects graphs of three Journal-laboratory - Entrevista, Matéria Prima e Primeira Impressão - of three universities from Santos-SP. She seeks identify improvements, stagnation or regressions on language graphic of this products academicians, and if the projects graphs from the periodicals are areas of research and experiment about to new graphs-visual languages into the field of the Journalism.

Pictogramas e seu uso nas instruções médicas: estudo comparativo entre repertórios para instruções de uso de medicamentos. Esta pesquisa tem por objetivo analisar dois repertórios de pictogramas que representam instruções relacionadas ao uso e manipulação de medicamentos. A intenção é entender o seu processo de significação, adotando um protocolo qualitativo baseado nas dimensões semióticas da comunicação sígnica - pragmática, semântica e sintática - de Charles W. Morris. Para atingir este propósito, o estudo inicialmente resgata informações sobre os campos a que pertencem os pictogramas e os medicamentos - comunicação visual e área médica. Ele parte da elaboração de um panorama histórico dos principais fatos e pessoas que contribuíram com a produção e disseminação do uso de pictogramas para identificar as diferenças em sua utilização. Finalmente, verifica as aplicações e contribuições da comunicação visual na área médica. / Pictograms and their use in medical instructions: a comparative study between pictogram sets conveying instructions on the usage of medicine. This research aims to analyze two pictogram sets which represent instructions concerning the use and manipulation of medicine. The purpose is to understand their signification process by adopting a qualitative protocol, which is based on the signal communication semiotic dimensions - pragmatic, semantic and syntactic - by Charles W. Morris. In order to reach this goal, the study begins by presenting information about the fields where pictograms and medicine belong - visual communication and medical area. Then, with the intent to identify the differences in the use of pictograms, it formulates a historical panorama, which includes the main facts and people that contributed for the production and dissemination of these graphical symbols. Finally, it examines visual communication applications and contributions to medical area.

Today we live in a society that focuses more and more on the visual aspects. Visual identity is the most visible part of a company's communication with the outside world, yet it is relatively unexplored in the academic literature. The purpose of this paper is to investigate how consumers perceive brands based on their visual identity. The thesis will include a qualitative method, consisting of a semiotic image analysis and focus group interviews. The results show that the perception of the brand based on the visual identity depends on the expectations the consumer has about the industry. The visual identity of the chosen companies was considered refreshing, exciting and playful, which attracted consumers. But the more consumers became aware of their visual identity, the more skeptical they became. / Vi lever idag i ett samhälle som fokuserar alltmer på det visuella. Visuella identiteten är den mest synliga delen av ett företags kommunikation med omvärlden, ändå är den relativt ouppmärksammad i den akademiska litteraturen. Syftet med denna uppsats är att undersöka hur konsumenter uppfattar varumärken utifrån dess visuella identitet. Uppsatsen kommer inneha en kvalitativ metod, bestående av en semiotisk bildanalys samt fokusgruppsintervjuer. Resultaten visar att uppfattningen av varumärket utifrån den visuella identiteten beror på vilka förväntningar konsumenten har på den branschen. Den visuella identiteten hos de valda företagen uppfattades som uppfriskande, spännande och lekfullt, vilket attraherade konsumenterna. Men ju mera konsumenterna tog del av deras visuella identitet, desto mera skeptiska blev de.

Globalisation is one of the most important cultural phenomena of our times and yet, one of the least understood. In popular and critical discourse there has been a struggle to articulate its human affects. The tendency to focus upon macro accounts can leave gaps in our understanding of its micro experiences.1 1 As Jonathon Xavier Inda and Renato Rosaldo argue there is a strong pattern of thinking about globalisation 'principally in terms of very large-scale economic, political, or cultural processes'. (See: Jonathon Xavier Inda and Renato Rosaldo (Eds.), The Anthropology of Globalisation: A Reader, Malden, Blackwell Publishing, 2002, p. 5.) In this thesis, I will describe globalisation as a dynamic matrix of flows. I will argue that globalisation's spatial, temporal, and kinetic re-arrangements have particular impacts upon bodies and consciousnesses, creating contingent and often unquantifiable flows. I will introduce digital art as a unique platform of articulation: a style borne of globalisation's oeuvre, and technically well-equipped to converse with and emulate its affects. By exploring digital art through an historical lens I aim to show how it continues dialogues established by earlier art forms. I will claim that digital art has the capacity to re-centre globalisation around the individual, through sensory and experiential forms that encourage subjective and affective encounters. By approaching it in this way, I will move away from universal theorems in favour of particular accounts. Through exploring a wide array of digital artworks, I will discuss how digital art can capture fleeting experiences and individual expressions. I will closely examine its unique tools of articulation to include: immersive, interactive, haptic, and responsive technologies, and analyse the theories and ideas that they converse with. Through this iterative process, I aim to explore how digital art can both facilitate and generate new articulations of globalisation, as an experiential phenomenon.

The objective of this research is to demonstrate that co-creative sketching as a part of the participatory process has the potential to support the developmental nature of a visual communication tool used to promote the exchange of experience. The tool is intended to create an informative hub that influences a travellers experience of a location. Ethnographic research as reflective sketching was conducted in the Tongariro National Park. Within this setting reflective sketching located the kitchen and common area of traveller specific accommodation as an ideal collaborative environment to conduct participatory design research. In this collaborative environment snowboarders and skiers who are aged between 20-30 years are identified as the target audience. This specific audience participated in co-creative sessions throughout the design process, resulting in the participatory design of the tool. The design aim of the visual communication tool was to promote the exchange of experience between snowboarders and skiers about a specific location. This was achieved by adapting generative tools made up of a visual language which supported the word of mouth exchange and individual expression. The exchange of experiences was facilitated by co-creative sketching with the visual language during a state of play. Playful co-creative sketching supported word of mouth dialogue between the snowboarders and skiers in a way that co-created an informative visual representation of the dialogue or contextmap. The resulting contextmap represented an image for experience which was beyond an individuals conception and made individuals tacit-knowledge accessible to audiences within and outside the moment of exchange, creating an informative hub which influenced the specific audiences view of experience for a location. An action research methodology is used during the course of this research, informed by the approaches of co-creation, context-mapping and generative tools. These approaches constructed a theoretical framework for the participatory development and co-creative sketching of the communication tool. This supportive thesis discusses the context, the theoretical concepts and provides an in depth account on the research through design process; the week-by-week participatory process undertaken to develop the visual communication tool.

The objective of this research is to demonstrate that co-creative sketching as a part of the participatory process has the potential to support the developmental nature of a visual communication tool used to promote the exchange of experience. The tool is intended to create an informative hub that influences a travellers experience of a location. Ethnographic research as reflective sketching was conducted in the Tongariro National Park. Within this setting reflective sketching located the kitchen and common area of traveller specific accommodation as an ideal collaborative environment to conduct participatory design research. In this collaborative environment snowboarders and skiers who are aged between 20-30 years are identified as the target audience. This specific audience participated in co-creative sessions throughout the design process, resulting in the participatory design of the tool. The design aim of the visual communication tool was to promote the exchange of experience between snowboarders and skiers about a specific location. This was achieved by adapting generative tools made up of a visual language which supported the word of mouth exchange and individual expression. The exchange of experiences was facilitated by co-creative sketching with the visual language during a state of play. Playful co-creative sketching supported word of mouth dialogue between the snowboarders and skiers in a way that co-created an informative visual representation of the dialogue or contextmap. The resulting contextmap represented an image for experience which was beyond an individuals conception and made individuals tacit-knowledge accessible to audiences within and outside the moment of exchange, creating an informative hub which influenced the specific audiences view of experience for a location. An action research methodology is used during the course of this research, informed by the approaches of co-creation, context-mapping and generative tools. These approaches constructed a theoretical framework for the participatory development and co-creative sketching of the communication tool. This supportive thesis discusses the context, the theoretical concepts and provides an in depth account on the research through design process; the week-by-week participatory process undertaken to develop the visual communication tool.

Accompanying workbook not available in digital format / Both empirical and anecdotal evidence indicates that visual communication1 design practices implemented by designers with full colour vision often disadvantage, and sometimes endanger, colour-blind people. The thesis The Machine postulates that colour-blind people – comprising approximately 8% of males and 0.5% of females (Lewis et al., 1990) – are marginalized by such practices. It argues that this group could benefit from a design strategy that enhances the communicative potential and visibility of colour. The proposed strategy involves embedding pattern into potentially confusing colours such as red and green. The embedded pattern would function for colour-blind people as an additional clue to the identity of these colours. The thesis contends that while colour alone can be confusing for colour-blind people, patterned colour could offer a solution with a wide range of possible applications. The research aims of The Machine include: developing a system of patterned colour; creating a wordless picture book that demonstrates the effectiveness of the system; constructing a narrative around the condition of red-green colourblindness; and employing visual rhetoric2 to increase awareness of and sensitivity to colour-blindness among those with full colour vision. The design of the thesis is supported by research in a number of interrelated areas. These include the history of pattern post-1850, particularly in Western culture; precedents for patterned colour; and visual rhetoric in story-telling. The research also incorporates an analysis of the defining characteristics of ten late twentieth-century and early twenty-first-century wordless picture books. The thesis is further supported by applied research into patterned colour and visual rhetoric. The Machine aims to benefit colour-blind people, a significant minority group whose visual needs are currently inadequately met. In addition, it proposes broadening the cultural role and significance of pattern. Moreover, by incorporating informative elements usually associated with pedagogic material, it aspires to extend the boundaries of the fantasy picture book genre. 1 Visual communication (n): communication that relies on vision (Wordnet, 2006). 2 Visual rhetoric: the use of visual techniques, such as the creation of visually ‘engaging’ characters, as a means of persuading a target audience