[pt] A presente pesquisa discute o papel da Computação Gráfica na década de 1980 no âmbito da equipe multidisciplinar que atuou na Rede Globo, realizando um trabalho pioneiro na TV brasileira. Esta equipe foi formada em um período inicial da Computação Gráfica mundial, e pesquisamos quais foram os processos, talentos, recursos e capacidades que estavam disponíveis neste período, onde o Brasil, mais conhecido como a terra do samba e futebol, de forma surpreendente e inesperada teve a oportunidade de participar de forma mundialmente relevante no campo do design e da Computação Gráfica, como era entendida naquele contexto de época. Após uma pequena introdução a história do design para a televisão e do início da Computação Gráfica, a pesquisa demonstra de que maneira a Rede Globo de Televisão estruturou-se na área de tecnologia de imagens em computação, com consequências que chegam até os dias de hoje. Esta pesquisa identificou quais profissionais foram atraídos para esta área, quais foram as suas qualificações, como suas diversas qualidades e capacidades foram desenvolvidas no processo de criação e produção de design e imagens em computação, quais foram os processos de formação/educação utilizados neste processo. / [en] This research investigates the role of computer graphics in the 1980s within the multidisciplinary team at Rede Globo, a Brazilian television network. The team was formed during the early stages of computer graphics development worldwide, and this study examines the processes, talents, resources, and capabilities available during this period. In a surprising and unexpected turn of events, Brazil, a country better known for samba and soccer, had the opportunity to make a globally relevant contribution to the field of design and computer graphics, as understood in the context of that time. Following a brief introduction to the history of television design and the early days of computer graphics, the research demonstrates how Rede Globo structured itself in the area of computer imaging technology, with consequences that continue to this day. The study identifies the professionals who were attracted to this field, their qualifications, how their diverse qualities and capabilities were developed in the process of creating and producing design and computer-generated images, and the training and education processes used in this process...

Gjenskinn is a graphic novel about feeling stuck, and the attempt to walk it off. The comic follows the young student Mia as she leaves her apartment around midnight to go buy snacks, ending up on a trip that is both longer and more social than planned.  Exploring themes of melancholia through excessive overthinking and awkward conversations, Gjenskinn tries to put images to feelings it's hard to put words to. It is a story about finding your way back (from the store), told with both humor and seriousness. / Gjenskinn er en grafisk roman om følelsen av å stå fast og forsøket på å gå det av seg. Historien følger den unge studenten Mia når hun forlater leiligheten sin litt før midnatt for å kjøpe snacks, på en tur som både blir lengre og mer sosial enn planlagt. Tegneserien utforsker tema som melankoli gjennom alt fra kontinuerlig overtenking til kleine samtaler, og prøver å sette bilde på følelser det er vanskelig å sette ord på. Det er en historie om å finne veien tilbake (fra butikken), fortalt med både humor og alvor.

Background: The tourism industry plays a crucial role in the global economy in developing countries such as Nicaragua, where it catalyzes development. Risk perception, safety considerations, user-generated content, and destination image significantly influence travel decision-making processes.    Purpose: The primary purpose of this thesis is to explore the intricate relationship between online travel planning, safety perceptions, and consumer behaviors in unexplored Central American destinations, with Nicaragua as a focal point.   Method: Semi-structured interviews were conducted with 15 participants. 11 participants visited Nicaragua, and four residents within the tourism sector were interviewed for a broader overview of the tourism situation in the country of investigation. An inductive approach was used to conduct a qualitative analysis, followed by a thematic examination of the primary data.   Conclusion: This thesis illuminates the intricate relationship between online information, safety perceptions, and consumer behaviors in travel decision-making. By uncovering the significant impact of online travel planning platforms, visual communication, and UGC on shaping travelers' safety perceptions in Nicaragua, the study offers actionable recommendations to support the sustainable development of the country's tourism sector.

Throughout history and in today’s society, typography has been and still is without doubt a great part of communication. Behrens, an important designer from the modernist movement, believed that after architecture, typography provided “…the most characteristic picture of a period” and “…development of people”. Typography carries meaning and associations, built on the contexts and the design it is used in, that finally creates a typographic image. The Blackletter style Fraktur, and Helvetica were born to serve a purpose connected to power. Important for this research is to understand in detail, the origin of that power and its position: Blackletter portrays features of the Gothic architecture, expressing religious emotions and civic pride, intended for effective writing, and was predominant in religious and educational contexts. This improvement of writing was a necessity for the development of the society during the medieval times; for both educational and financial reasons. As Fraktur became a symbol of Germany, the today’s connotations towards oppression and Nazism were inevi­table as the Third Reich continued to use it until it was banned in 1941. Meanwhile, the post war modernism in the 20th Century, sought objectivity, simplicity and readability in their design, to erase any carried meaning or associations that could have a misleading effect on the information. This period of time paved way for a corporate culture, with approaches towards rationalist and function­alist methods, that expresses authority and reliability. Achieving brand recognition for a wide range of products and contexts was required by the graphic designers. Through workshops that document people’s associations and comments on the shapes and typographic images that both Helvetica and Fraktur create, and visual research made in forms of sketching and adding Fraktur features to signs of institutions and public sectors, I have investigated Fraktur’s tainted image of oppression and political sentiments with the help of Helvetica as the contemporary norm.

Thesis (M. Tech.) - Central University of Technology, Free State, 2009 / The aim of health communication campaigns and visual communication material (VCM) is to positively influence audience health behaviour and attitude. VCM has been used in this respect effectively as a vehicle to convey information about HIV/AIDS over the past three decades. It has been used to promote health knowledge and awareness in order to reduce the transmission of the virus. The aim of this study was to determine the efficacy of graphic imagery in HIV/AIDS VCM. To realise this aim, the researcher set the following objectives: * To review relevant literature in order to isolate key features and process those that communicators must consider/follow when developing HIV/AIDS VCM; * To determine the comprehension of selected outdoor HIV/AIDS messages, the graphics used in these messages, illustration preferences, and an evaluation of the self-efficacy of selected loveLife outdoor visual messages; and * To propose a model that communicators can use as a guideline when developing VCM. The outcome of the review suggests a compilation of features, design guidelines and variables that may contribute to the effectiveness of VCM. The results of the empirical study indicate that suitable graphic imagery fosters message comprehension, while inappropriate imagery inhibits comprehension, and realistic and appropriate imagery is preferred to abstract and representational imagery. Familiar images can contribute towards improved comprehension of HIV/AIDS messages. These findings also gave birth to the proposed ‘O’ communication model, which is a reflection of the results of the empirical study.

The main question of this study was: How and in what way can a multimodal semiotic visual analysis model be developed and used for contributing to the analysis and understanding of the manner in which the Men’s Health (South Africa) magazine – as a case study – represents and constructs masculinities in South Africa? The following three subsidiary research questions were formulated to address this topic: • What is the literature revealing with reference to the media as producers of meaning in relation to masculinity and visual texts? • How and in which way can a semiotic visual analysis multimodal model be developed with the purpose of contributing to the analysis of visual texts? • What is the outcome of the visual analysis multimodal model with reference to the case study about the representation and construction of masculinities in visual texts in MH? The first aim of this research was to establish an overview of masculinities and to explore the visual representation of masculinity with reference to mediation, reality, and ideology in the media. With reference to the media as producers of meaning in relation to masculinity and visual texts, a semiotic visual analysis and social semiotics were used to unpack culture as a site of the production of meanings. The media is one of the main sources from which men receive their entertainment and information about the world. In this sense, the media makes sense of the world. Mass media plays a key role in discourse and constructing the relationships between reality and ideology. During this construction, the media reflects on existing opinions and attitudes in society. A quantitative content analysis and a qualitative semiotic multimodal visual analysis were conducted on 27 visual texts purposively selected from MH to include editions from July 2010 to June 2011. This population covered 12 front covers, 12 editorials and three flip covers. The developed visual multimodal model was tested qualitatively on nine visual texts since these texts included the front covers, flip covers and editorials of the three editions with flip covers. v A second major aim of the study was to establish the way in which a semiotic visual analysis multimodal model needed to be developed and used for analysing visual texts, as well as for analysing the visual texts according to the multimodal model in order to understand how the multimodality and social semiotic resources were applied in MH to represent and construct masculinities. The rationale for the development and design of this model was based on the premise that a basic understanding of semiotics and visual language was needed. Without such an understanding, the vast amounts of visual messages that confront the reader would remain incomprehensible. Consequently, a productive dialogue in relation to visual communication cannot take place. The multimodal model developed in this thesis highlights visual text layout, in conjunction with language-in-use, that does not occur in isolation and that is deeply reliant on other forms of making meaning. The heptagon multimodal model consists of concept maps of the six functions of the designed hexagon model. This multimodality approach includes analysing simultaneously occurring semiotics and their various roles in conjunction with detailed, all-inclusive discourses. In the quantitative content analysis and the qualitative multimodal semiotic analysis, the six components of the developed heptagon model (visual grammar, positioning, typography, colour, modality, and iconography) are illustrated. The quantitative research supported the main research design, i.e. the qualitative multimodal semiotic analysis. It is envisaged that the development and construction of a multimodal semiotic model will make a contribution to the scholarly field of semiotic analysis. By discussing the fluidity of the variations of masculinities and male identities, by giving a brief overview of the role of the media in constructing masculinities, and by focusing on the discourses that took place in MH, the researcher creates an awareness of the inherited patriarchal masculinities by recommending envisioned masculinities to be inclusive as a component of the solution. This approach is illustrated by the use and findings of the multimodal semiotic visual analysis. / Communication Science / D. Litt. et. Phil

Syftet med föreliggande studie har varit att kartlägga hur grafiska formgivare runt om i världen uppfattar skandinavisk grafisk design. 53 deltagare från industriländer deltog i studien som använde en kombination av mail-intervjuer och enkäter. Resultaten från denna studie indikerar att, oavsett kontinent, upplevs skandinavisk grafisk design som enkel och funktionell. Layouten uppfattades som rutnätsbaserad med mycket ljusrum och få grafiska element. Monokroma färger som svart, vit och grå utan gradienter och skuggor uppfattades som typiska för skandinavisk grafisk design; följt av jord- och pastellfärger. Sanserifer var mest förknippade med skandinavisk grafisk design. Motiv ansågs i denna studie att användas sparsamt, men när de används avbildar de naturen eller geometriska former. Foton och illustrationer ansågs användas ungefär lika mycket, illustrationer hade en smärre större preferens. Den upplevda påverkan av skandinavisk grafisk design varierade mellan deltagarna. Deltagarna som tyckte att påverkan var stor, ansåg att detta berodde på förespråkandet av enkelhet och funktion, sammanflätning av designområden och/eller frammaning av hållbar grafisk design. Deltagarna som ansåg att påverkan var låg, tyckte att för lite publicitet var en bidragande faktor.De flesta deltagarna i denna undersökning ansåg att skandinavisk grafisk design var enklare i jämförelse med vad de kunde se i sina hemländer. Vidare tyckte afrikanska, asiatiska och sydamerikanska deltagare  att färgerna hade lägre kroma. / The aim of the present study was to determine how graphic designers around the globe perceive Scandinavian graphic design. 53 participants from industrial countries around the world partook in the study, which used a combination method of mail interviews and questionnaires.The results of this study indicated that, regardless of continent, Scandinavian graphic design was perceived as simple and functional. The often grid-based layout favored the use of sans-serifs, white space and few graphic elements according to the participants in this study. Achromatic colors such as black, white, and grey without gradients and shadows were preferred. Followed by earthy and pastel hues. Motifs were used sparingly, but when they were, they depicted elements found in nature or geometric shapes. Photos and illustrations were perceived to be equally in use, with a slight inclination towards illustrations being used more. The perceived impact of Scandinavian graphic design was wide-ranging. The participants who found the impact to be high were due to advocating simplicity and functionality, intertwining design fields, and/or raising awareness of conscious graphic design. The participants, who found the impact to be low, believed that too little exposure was a contributing factor. Most participants in this study considered Scandinavian graphic design simpler in comparison to what they can see in their own countries. Furthermore, African, Asian and South American participants perceived the colors to be lower in chromatic value.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis presents an analysis of ‘township typography’ as a complex visual dialect generated by various economic and historical factors within the South African social landscape. A combination of specific tools, skills-sets and applications has produced a body of typographic letterforms that can be visually distinguished from standardised letterforms found in mainstream typography. Due to the origin of these letterforms, as well as their distinct appearance, ‘township typography’ has the capacity to evoke specific social, cultural or demographic structures in systems of communication. This study reveals that typographic features from ‘township typography’ are drawn into mainstream cultural production, particularly in the field of local advertising, as the result of a complex process of incorporation and institutional consecration. / AFRIKAANSE OPSOMMING: Hierdie tesis bied ‘n analise van ‘township tipografie’ as ‘n komplekse visuele dialek wat gegenereer word deur verskeie ekonomiese en historiese faktore eie aan die Suid- Afrikaanse sosiale landskap. Die spesifieke kombinasie van gereedskap, vaardighede en aanwendings lei tot ‘n liggaam van lettertipes wat visueel onderskei kan word van die standaard wat in hoofstroom tipografie voorkom. Vanweë hierdie dialek se oorsprong, asook die kenmerkende voorkoms daarvan, het ‘township tipografie’ die vermoë om spesifieke sosiale, kulturele en demografiese strukture in kommunikasie op te roep. Hierdie studie toon hoe eienskappe eie aan ‘township tipografie’ weens ‘n komplekse proses van inkorporasie en institusionele inseëning in hoofstroom kulturele produksie opgeneem word, veral op die gebied van plaaslike advertensiewese.

Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study specifically focuses on drawings of the South African landscape and how it led to knowledge of our country. The Western perception of the concept of nature in relation to culture or civilisation is investigated by brief reference to a few periods in Western history. It is argued that man and nature was separated in Western thought by the establishment of rational thinking. This concept led to man's exploitation of nature to his own advantage. The division between man and nature was broadened in the quest for technological advancement. The first European travellers came to South Africa with a Western mind set, hoping for better economical conditions. The illustrated traveller's report reflects the verbal and visual capturing and exploitation of the South African landscape. It is further argued that European travellers tried to structure the landscape according to Western aesthetical traditions. Drawings appear to be picturesque but have radical political, economical and social implications. Colonial depictions created knowledge, but in fact symbolically legitimise the expansion of power. Until the middle of the twentieth century Western aesthetic traditions were applied to visual depictions of the South African landscape. During this period, artists were uncritical of the oppressive political system and in doing so gave their tacit consent. Ever since the middle of the twentieth century, several artists voiced their opinions against the unfair policy of the ruling political party. Visual images asked subtle questions and gave radical judgements; thus knowledge was created and a contribution made to the freedom of all South Africans. My drawings of South African landscapes are to be understood against this theoretical background. I use drawings to ask questions about the relationship between the visual image and the establishment of knowledge. I also refer to the relationship between the original and the copy, reality, the photo and the drawing. I conclude the following: drawings lead to the creation of knowledge and landscape depictions have implications of power. The solution to this problem lies, in the end, once more III drawings.My depictions of South African landscapes are given as an answer. / AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees. Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies, probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese, ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap. Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid- Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge. My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.

À l’ère du web 2.0, l’usage des sites web se multiplie et génère de nouveaux enjeux. La satisfaction en rapport à l’interactivité, facteur d’efficacité des sites, détermine la popularité, et donc la visibilité de ceux-ci sur la Toile. Par conséquent, dans cette étude, nous considérons que les utilisateurs ont un rôle à jouer lors du processus de conception de ces derniers. Certes, autant en théorie que dans la pratique, les concepteurs semblent bel et bien tenir compte des utilisateurs; toutefois, ils ne les intègrent pas comme participants actifs dans leurs démarches. Cette étude vise au moyen d’une recherche documentaire et d’observations sur le terrain à comprendre les principales catégories et morphologies des sites web ainsi que les usages qui en découlent. Une analyse des diverses démarches de conception et des perceptions et attentes des internautes est réalisée sur la base de ces résultats. Pour répondre à ces objectifs, cette analyse cible deux catégories de sites réalisés par des professionnels et par des amateurs. Celle-ci nous permet de démontrer que les résultats de chacune de ces démarches, exprimés à travers les interfaces graphiques des sites, diffèrent au niveau de la qualité perceptible. Cette étude souligne également l’importance d’un traitement efficace de la communication graphique des éléments des sites web, afin de structurer la lecture et transmettre au final un message clair et compréhensible aux internautes. Dans le but consolider nos propositions, nous faisons référence à deux théories de communication graphique, la Gestalt et la sémiotique, l’une s’intéressant à la perception visuelle, l’autre à l’interprétation des signes. Celles-ci se sont révélées pertinentes pour analyser la qualité et l’efficacité des éléments de contenus. Notre étude révèle que les participants ne sont pas satisfaits des deux sites testés car l’utilisabilité du site conçu par des professionnels est trop complexe et l’interface du site conçu par un amateur manque de professionnalisme et de cohérence. Ces résultats soulignent la pertinence d’une approche centrée sur l’utilisateur pour la conception de sites web, car elle permet d’identifier et de résoudre des erreurs de conception. Nos résultats permettent également de souligner que les professionnels ayant un savoir technique et théorique se démarquent des amateurs au niveau des intervenants, des outils et des limites. Des pistes de solution, via des critères de design centré sur l’utilisateur, sont proposées à la fin de cette étude dans le but d’optimiser la qualité et l’efficacité des interfaces graphiques web. / Web 2.0 multiplies the uses of websites and generates new challenges. Users occupy a central role in this expansion: their satisfaction, in dictating the websites’ efficiency, determines the popularity and also therefore the visibility of those sites’ on the Internet. Consequently, the users should actively participate in the design process. Although designers, in theory like in practice, seem to take users into account in their approach, they do not include them in the process. First of all, this research aims to understand, through a literature review and field observations, the main uses, categories and morphologies of websites. Based on these findings, an analysis of design processes and the users’ perceptions and expectations is conducted. To reach our goals, this analysis targets two types of websites, made by professionals or by amateurs. It shows that the results of each design process, expressed through the interface design, differ in termes of perceived quality. This study also underlines the importance of efficient visual communication through the websites’ components, in order to structure the users’ reading path and ultimately send them clear and comprehensible information. To ensure our propostions we refer to two visual communication theories, the Gestalt theory, interested in visual perception, and semiotics, which studies the interpretation of signs. These were proved relevant in analyzing the quality and efficiency of the websites’ contents. Our study reveals that users, after testing the two targeted websites, are unsatisfied. The professional site’s complexity affects its usability, while the amateur site’s interface design, is lacking professionalism and coherence, influence the user’s interpretation. These results assert the relevance of applying a user-centered design approach to the websites’ design, as it allows to identify and resolve these design issues. Our results also show that there is a difference between professionals and amateurs with regards to their technical and theoretical knowledge, on the levels of actors, tools and limits. Potential solutions, through user-centered design criteria, are finally proposed by this research to optimize the quality and efficiency of user interface designs.