As artes sequenciais (AS) ou narrativas gráficas (NG) são uma modalidade de expressão híbrida (multimodal) composta de texto imagem e texto palavra. Ao longo de toda sua história, as NG têm enfrentado diversos desafios na academia e no mercado, e, mesmo sendo um assunto de complexa multidisciplinaridade, é objeto de poucas pesquisas no design visual, que possui amplo conhecimento em metodologias projetuais e características intrinsecamente multidisciplinares, além de expertise técnica em comunicação visual. Esta pesquisa busca analisar os princípios metodológicos de projeto visual e o processo de produção das narrativas gráficas partir de pesquisa bibliográfica, fazendo uma análise etapa a etapa de metodologias selecionadas nas áreas de Design Generalista (MUNARI, 2008; BAXTER, 1995), Design Visual (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narrativas (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) e Narrativas Gráficas (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Utilizando bibliografia sobre projeto visual, imagem, linguagem visual, narrativas e narrativas gráficas como base para a construção de conhecimento teórico, as etapas são segmentadas em fases, utilizando como base as metodologias projetuais generalistas, mostrando que existem benefícios para os profissionais produtores de NG em utilizar as metodologias projetuais do Design Visual como linha projetual para a produção de HQ. / The sequential arts (AS) or graphic narratives (NG) are a modality of hybrid modality (multimodal) composed of image and word. Throughout its history, NG has faced several challenges in academia and in the market, and although it is a subject of complex multidisciplinarity, it has little research in the visual design field, that has ample knowledge in design methodologies and characteristics intrinsically multidisciplinary, as well as technical expertise in visual communication. This research seeks to analyze the methodological principles of visual design and the process of production of graphic narratives, making a step by step analysis of selected methodologies in the areas of General Design (MUNARI, 2008; BAXTER, 1995), Visual Design (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narratives (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) and Graphic Narratives (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Using bibliographic research on visual design, image, visual language, narratives and graphic narratives as the basis for the construction of theoretical knowledge, the steps are segmented in phases, using as base the generalist design methodologies, showing that there are benefits for the professional producers of NG to use the Visual Design methodologies as the design backbone for NG production.

Current design theory sets out many rules and guidelines for designers, but good design is still difficult to replicate. Often the design principles found in the manuals are misapplied, resulting in designs that (1) do not fulfill their purpose and (2) disrupt the clarity of information. This thesis will review and provide experimental data supporting a model of visual form/visual purpose connections based on the semiotic of C.S. Peirce. This model was first used by Amare and Manning (2005, 2006, 2007, 2008, 2009) to evaluate and explain both effective and ineffective visual information design. This thesis will extend their approach, reporting on the results of four experiments to test the aesthetic appeal and information retention from various visual designs. The four experiments presented in this thesis show that viewer's ability to recall information does not coincide with designs that they find the most visually stimulating or visually pleasing. High indicative contrasts allow for higher retention rate, but those contrasts do not necessarily conform to viewer's aesthetic preferences. Low indicative contrast options have a lower retention rate, but are preferred aesthetically by viewers. Peircean analysis accounts for this disconnect between usability and preference and can help designers find the balance that is needed between these competing purposes in visual information design.

This study approaches the question of how to use QR codes as a physical tool to attractconsumers to a digital platform. This is done by creating designs for three companies anddisplaying them publicly in different locations. In total, the designed QR codes were scanned15 times across all 11 locations and were affected by things such as location, design, andamount of displayed information. This was followed by a survey (N=51) which concluded thatthey rarely scan QR codes due to, as an example, lack of interest in the information. Despitethe low scan rates of the tested designs, the respondents of the survey view the tool assomething to make things accessible quickly and efficiently. Companies were also interviewed(N=5) and had a generally positive view on QR codes, some using them more than others.

Titel: Att visualisera identiteter: en kvalitativ studie om hur visuell design relaterar till en varumärkesidentitet. Författare: Paulin Arvola och Johanna Sandborg Handledare: Dan Halvarsson Examinator: Bertil Hultén Insitution: Ekonomihögskolan, Linnéuniversitetet, Växjö. Kurskod: 2FE23E, Inrednings- och butikskommunikation, kandidatuppsats 15hp. Bakgrund: Visuell design kan vara av betydelse för att konsumenter skall uppfatta ett företags utsända signaler. Den visuella designen kan åskådliggöra skillnader mellan olika varumärkesidentiteter. För att företag ska lyckas behövs kunskap kring hur konsumenter upplever företagets utsända signaler. Genom att skapa förståelse för konsumenten kan företag möjliggöra utveckling av starka varumärkesidentiteter som kan öka kundvärdet genom tillämpning av visuell design utifrån ett mottagarperspektiv. Forskningsfråga: Vad gör konsumenter för kopplingar mellan visuell design och en varumärkesidentitet? Syfte: Syftet med studien är att analysera och förklara hur visuell design relaterar till en varumärkesidentitet. Metod: Kvalitativ studie, undersökande forskningsdesign, semi-strukturerade fokusgrupper. Slutsats: Studien visar att det finns en relation mellan visuell design och en varumärkesidentitet om den visuella designen kommunicerar en direkt funktion för varumärkesidentiteten. Endast när visuell design bidrar till att kommunicera direkta funktioner kan kopplingar göras till varumärkesidentiteten. Det har påvisats att samtliga attribut och gestaltningar kan utgöra relationen om de lyckas kommunicera minst en direkt funktion för varumärkesidentiteten. Relationen mellan visuell design och en varumärkesidentitet är beroende av hur respektive mottagare tolkar de visuella signalerna. Nyckelord: Visuell design, Varumärkesidentitet, Konsumentuppfattning, Tolkning. / Title: To visualize identites: A qualitative study about the relationship between visual design and brand identity. Authors: Paulin Arvola and Johanna Sandborg Tutor: Dan Halvarsson Examiner: Bertil Hultén Institution: School of Economics, Linneaus University, Växjö Course code: 2FE23E, Interior Decoration and Visual Merchandising, Bachelor Thesis 15 credits. Background: Visual design can be a useful tool for companies in purpose to increase consumer recognition. Differences between brand identities can be illustrated through visual design. To gain the advantage of visual design companies need to understand how the consumer perceive the effects of visual design. Companies can develope their brand identities by understanding the consumer and create value from a consumer perspective by application of visual design. Research question: How do consumers make a connection between visual design and brand identity? Purpose: The purpose of the study is to analyze and explain how the visual design have a relationship to a brand identity. Methodology: Qualitative research metholgy, explorative research design, semi- structured focus groups. Conclusions: The thesis shows a relationship between visual design and brand identity when the visual design communicates a direct function of the brand identity. The visual design can only be connected to the brand identity when it visualize a direct function of the brand identity. The study shows that attributes and configurations can represent the relationship only if at least one direct funtion manage to communicate the brand identity. The relationship between visual design and brand identity dependens on how each reciever interprets the visual signals. Keywords: Visual Design, Brand Identity, Consumer Perception, Interpretation.

To achieve success in today's competitive environment, companies are realising the importance of design collaboration during new product development. The aim of this research was to develop a collaborative design tool for use by industrial designers and engineering designers. To achieve this, a literature review was undertaken to understand the working relationship among the two disciplines during new product development. Following this, empirical research through interviews and observations outlined three problem areas: conflicts in values and principles; differences in education; and differences in representational tools and methods. The latter was chosen because the problem area of design representations was found to be highly significant. In looking at bridging differences in design representations, a taxonomy comprising 35 forms of sketches, drawings, models and prototypes was generated. A second stage of empirical research was conducted to establish the popularity of each representation and the type of design / technical information that industrial designers and engineering designers communicated with. The information was indexed into CoLab cards that would enable the two disciplines to gain joint understanding and create shared knowledge when using visual design representations. Following a pilot evaluation and minor modifications, student and practitioner interviews with a case study were employed to assess the significance of CoLab. The findings revealed that 82% of the interviewees felt CoLab to have built a common ground through the use of visual design representations. 75% gave a positive rating when asked if the system would enhance collaboration and 91% gave the physical cards a positive response as it provided instant access to information and allowed easy sharing. This thesis is a step towards a greater understanding of collaboration between industrial designers and engineering designers. The use of the CoLab system provides the prospect of achieving a common ground between the two disciplines.

CATME (Comprehensive Assessment of Team Member Effectiveness) is a web-based platform that is intended to improve team experiences for students and faculty in higher education. The goal of this study is to redesign the user interface for CATME employing User-centered Design (UCD) framework. The design process consists of four phases: discover, define, develop, and validate. This study examines the current website to discover potential usability problems by conducting different methodology. Then it moves into robust user research to define the user’s pain points need to be addressed to improve user experience. In order to tackle the usability issues, design solutions are created and evaluated with real users. The result of the study is redesigned UI (user interface) for CATME’s three key pages, the homepage, activity wizard, and data dashboard.

I detta kandidatarbete har vi undersökt hur man på bästa sätt kan främja direktmedieringen med hjälp av den visuella designen. Detta utforskades och visualiserades genom ett tredimensionellt pusselspel med fem olika objekt som innehåller olika pussel, där vi har fokuserat på den visuella designen. Som designperspektiv har vi använt ramverket MDA i kombination med core pillars för att hålla oss inom rätt områden i vår designprocess. Några övriga metoder vi använt under projektets gång var: Metod 635, scrumban, moodboards. Resultatet blev genom vår gestaltning en kombination av olika medie- och designval i ett försök att hitta balansen för rätt estetiska känsla. / In this bachelor thesis, we have investigated how to best promote immediacy using visual design. This was explored and visualized through a three-dimensional puzzle game with five different objects containing different puzzles, where we focused on the visual design. As a design perspective, we have used the MDA framework in combination with core pillars to keep us in relevant areas in our design process. Some other methods we used during the project were: Method 635, scrumban, mood boards. The result was, through our design, a combination of different media and design choices in an attempt to find the balance for the right aesthetic feeling.

Att kommunicera förtroende är en nyckelfaktor för att lyckas inom e-handel. Förtroendeinom e-handel påverkas av flera faktorer, där visuell design är en av dessa. Dennauppsats avser att inge fördjupad förståelse för hur den visuella designen spelar roll ianvändarens upplevda förtroende till en e-handelswebbsida. I denna uppsats fokuserarjag på att undersöka hur förändringar av olika grafiska element i en webbsidas visuelladesign påverkar användares upplevda förtroende för webbsidan. För att undersöka dettautfördes flera tester där användare själva fick beskriva sina tankar och åsikter om denvisuella designen och hur de upplevde förtroende till webbsidan baserat på den visuelladesignen och förändringarna av den. Genom att bearbeta resultaten från dessaundersökningar blev det möjligt att se hur förändringen av den visuella designenpåverkade respondenternas förtroende till webbsidan och det den representerade. / Trust in e-commerce is affected by several factors, where visual design is one of these.This essay aims to give in-depth understanding of how the visual design affects users'perceived trust in an e-commerce website. My focus in this essay is to examine howchanges in various graphical elements in a website's visual design affects user'sperceived trust of the website. Several tests where performed in order to examine this,these tests involved users to describe their thoughts and opinions on the visual design ofa website, and how they experienced their trust in the website based on the visual designand the changes of it during the test. By analyzing and interpreting the result from thesetests it was possible to see how the change in the visual design influenced users trust inthe website and what it represented.

Gráficos e textos são os principais recursos didáticos utilizados na confecção do material instrucional. A linguagem visual tem qualidades diferenciadas que podem ser exploradas no processo de ensino e aprendizagem, tais como a concisão, a obtenção de visão diferenciada a respeito do conteúdo, e a estimulação motivacional. Sabe-se que gráficos de diferentes tipos – fotografias, diagramas e ilustrações – podem ser utilizados de forma efetiva para melhorar o aprendizado. Entretanto, no âmbito educacional, a linguagem verbal sempre foi considerada mais importante em relação à linguagem visual. Como consequência, os profissionais do ensino e de outras áreas relacionadas à produção de materiais instrucionais não sabem utilizar gráficos de forma eficaz para atingir propósitos instrucionais. Portanto, esta pesquisa pretende contribuir para este contexto com a proposição de diretrizes para o projeto de gráficos instrucionais estáticos, que objetivam obter a qualidade dos mesmos. Como fundamentação teórico-metodológica, buscam-se conhecimentos nas áreas do design instrucional e design visual, englobando aspectos desses gráficos, da instrução e aprendizagem, e do âmbito do projeto visual. A metodologia da pesquisa é desenvolvida em três fases principais, nas quais são: levantadas orientações de projeto; sintetizado um conjunto de diretrizes de projeto de gráficos instrucionais estáticos; e verificada a qualidade desses gráficos por meio de avaliação com especialistas. Como principais contribuições desta pesquisa destacam-se: o conjunto de 19 diretrizes projetuais que pode ser utilizado em uma variedade de suportes e tipos de gráficos; o modelo de processo projetual para a concepção de gráficos instrucionais estáticos; e os critérios de qualidade desenvolvidos para os mesmos gráficos que podem ser utilizados também como fatores de análise e avaliação de gráficos. Com a aplicação dessas contribuições, é possível tornar mais eficiente o processo projetual, contribuir para a qualidade dos materiais instrucionais e facilitar a aprendizagem de usuários que utilizarem esses materiais. Além disso, esta pesquisa contribui para o desenvolvimento dos campos teóricos do design instrucional e design visual, especificamente relacionada aos gráficos instrucionais estáticos. / Graphics and texts are the main teaching resources used in the production of instructional material. The visual language has different qualities that can be exploited in the process of teaching and learning, such as brevity, obtaining different view about the content, and the motivational stimulation. It is known that graphics of different kinds – photographs, diagrams and illustrations – can be effectively used to enhance learning. However, the educational level, verbal language has always been considered more important in relation to visual language. As a result, school staff and other areas related to the production of instructional materials do not know how to use graphics effectively to achieve instructional purposes. Therefore, this research aims to contribute to this context to propose guidelines for static instructional graphics design, which aim to get the quality. As theoretical and methodological foundation, are sought knowledge in the areas of instructional design and visual design, encompassing aspects of these graphs, education and learning, and the scope of the visual design. The research methodology is developed in three main phases, in which are raised design guidelines; synthesized a set of static instructional graphics design guidelines; and verified the quality of these graphics through evaluation with experts. The main contributions of this research are: the set of 19 projective guidelines that can be used in a variety of media types and graphics; the design process model for designing static instructional graphics; and quality criteria developed for the same graphics that can also be used as factor analysis and evaluation chart. By applying these contributions, you can make more efficient design process, contribute to the quality of the instructional materials and facilitate the learning of users who use those materials. Additionally, this research contributes to the development of theoretical fields of instructional design and visual design, specifically related to static instructional graphics.

NASCIMENTO, Suelene Silva Oliveira. A construção multimodal dos referentes em textos verbo-audiovisuais. 2014. 150f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-10-20T13:47:20Z No. of bitstreams: 1 2014_dis_ssonascimento.pdf: 5865487 bytes, checksum: 5b3416975b4c5c32b27afe3e70f7e010 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-10-20T15:46:27Z (GMT) No. of bitstreams: 1 2014_dis_ssonascimento.pdf: 5865487 bytes, checksum: 5b3416975b4c5c32b27afe3e70f7e010 (MD5) / Made available in DSpace on 2014-10-20T15:46:27Z (GMT). No. of bitstreams: 1 2014_dis_ssonascimento.pdf: 5865487 bytes, checksum: 5b3416975b4c5c32b27afe3e70f7e010 (MD5) Previous issue date: 2014 / This work has as main objective to analyze the referential construction of an verb audiovisual text based on verb categories of compositional metafunction in the Grammar of Visual Design (KRESS and VAN LEEUWEN, 2006). We assume that the meaning of things is not completely pre - set before being part of an utterance. The objects of the world, to be referred to by the speaker, are perceived by the individual, who, like each of the other speakers of the language, has a particular life experience and carries their knowledge, shaped by cultural and ideological constraints of their society and their times. We assume the fundamental assumptions of the Grammar of Visual Design (GDV), derived from the Systemic Functional Grammar. In order to verify this entanglement between the verbal and visual semiosis, we elected sociocognitivism, from which we propose a scaling effect in Linguistics Textual analysis (LT). At first, some studies verticalizes multissemioses who have already had a tonic in the field of LT. In a second step, we articulated the theory of multimodality and referral to other theoretical fields such as reading comprehension, in order to strengthen the scope of our research, establishing the studies already conducted and, in particular, exceeding the plan exclusively verbal. To carry out this study, we analyzed a short film, Vida Maria, Márcio Ramos, produced in computer graphics. The choice of this genre was due to the nature of our research tool – interview guidelines or semioriented, since we intend to analyze how is it related to the construction of the film at the time of display of short scenes, and as such reconstruction referents in a verbal-visual text mobilizes certain reading strategies. / Este trabalho tem como objetivo geral analisar a construção referencial de um texto verbo-audiovisual com base em categorias da metafunção composicional na Gramática do Design Visual (KRESS & VAN LEEUWEN, 2006). Partimos do princípio de que o sentido dos signos não está completamente pré-definido antes de fazer parte de um enunciado. Os objetos do mundo, ao serem referidos pelo falante, passam pela percepção do indivíduo, que, como cada um dos outros falantes da língua, tem uma experiência particular de vida e carrega sua bagagem de conhecimento, moldada pelas imposições culturais e ideológicas de sua sociedade e de sua época. Assumimos os pressupostos fundamentais da Gramática do Design Visual (GDV), oriundos da Gramática Sistêmico-Funcional. Para verificar esse entrelaçamento entre as semioses verbal e visual, elegemos o sociocognitivismo, a partir do qual propomos um redimensionamento das análises efetivadas em Linguística Textual (LT). Em um primeiro momento, verticalizamos alguns estudos sobre a multissemiose que já têm tido uma tônica no campo da LT. Em um segundo momento, articulamos a teoria da referenciação e a da multimodalidade com outros campos teóricos, como o da compreensão leitora, com o intuito de fortalecer o nosso escopo de investigação, elastecendo as pesquisas já realizadas e, em especial, ultrapassando o plano exclusivamente verbal. Para a realização do presente estudo, analisamos um curta-metragem, Vida Maria, de Márcio Ramos, produzido em computação gráfica. A opção por esse gênero se deu em virtude da natureza do nosso instrumento de investigação – entrevista por pautas ou semiorientada, uma vez que tencionamos analisar como se explica a construção dos referentes do filme no momento da exibição das cenas do curta, e como tal reconstrução dos referentes em um texto verbo-audiovisual mobiliza certas estratégias de leitura.