ESEIG - DES - Comunicações em eventos científicos
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- Visual archives and infographics: new connectionsPublication . Fernandes, Marta; Giesteira, Bruno; Quintas, Alexandre AiThe present article is part of a broader study that frames the concept and creation of visual archives for online press, in relation to in-‐ fographics. In addition to being an operative discipline, Design presents it-‐ self as a theoretical response, through the analysis of conditionings in soci-‐ ety and the anticipation of new communication processes. By presenting and promoting the practical and theoretical investigation in areas such as design and visual literacy, with specificity on infographics – a multidisciplinary area in constant evolution –, we intend to reveal how we can communicate complex information content visually. Focusing on online press infographics, we propose to establish a new role by relating it to visual archives. Nowadays, the Internet offers various resources for online archives and databases. In the interest of preserving content and data, various archives are, currently, committed to digitizing their information. Various govern-‐ ments, in a methodical manner, have made budget and government deci-‐ sions available online. Other examples, like Google, are also a vital source of information. However, correlations are dispersed and its logic is pre-‐ sented based on textual parities or presented in datasets that only make sense to a scarce number of people. Archives, as a specific field in information, should propose systemic con-‐ structions between content and meaning. This is the underlying premise, when we question in what measure can archives, by becoming visual, solve flaws in communication. At the same time, the subjacent objective of most information visualization is to organize and clarify mass volumes of data. Based on this definition, it is a field that has impinged it self in the concept of archive. We will begin explaining the connections that make information visualization fertile ground for this concept, by decoding the definition and objectives of archives. After, through authors and case studies, we will ana-‐ lyze how they can influence new platforms of communications and rein-‐ force new options for online press infographics.
- Visual archives: new infographic interfacesPublication . Fernandes, Marta; Giesteira, Bruno; Quintas, Alexandre AiThe present article is part of a broader study that frames the concept and creation of visual archives for online press, in relation to infographics. In addition to being an operative discipline, Design presents itself as a theoretical response, through the analysis of conditioning in society and the anticipation of new communication processes. By presenting and promoting a practical and theoretical investigation on infographics, we intend to reveal how we can communicate complex information content visually. Focusing on online press infographics, we propose to establish a new role by relating it to visual archives. We will present selected case studies to focus on the possibilities of retrieval and presentation of past and present data, thus connecting a definition of visual archives with new paths for online dynamic infography. Interface presents itself as an invisible aspect that interfuses the final outcome, and reveals infographics as a response that bonds technology and visual practice.
- Semiótica da marca: contributos para a construção de uma ferramenta analítica e operacional dentro da prática do design de identidadePublication . Coelho, RitaNo nosso contexto hiper-moderno, há factores que influenciam a nossa percepção e consequente grau de afeição ou rejeição para com as entidades. Pese embora o facto de que a marca gráfica (desvinculada do signo tipográfico) ser uma parcela dentro do conjunto maior do design de identidade, esta merece ser estudada na actual conjuntura: uma conjuntura onde está presente uma crise financeira e social, com altos níveis de desemprego e situações que, embora não sendo nefastas, não devem ser ignoradas – como é o caso da crescente criação de identidades em outsourcing ou da maior acessibilidade aos computadores e processos criativos por parte de designers e não designers. O nosso principal objectivo é o de criar um um manual de práticas compilando uma gramática da marca gráfica que a explicite aos jovens designers. Já verificamos que esta ferramenta pode ser transferida para conceber e analisar outros artefactos gráficos. Pretendemos examinar se são válidos na contemporaneidade os axiomas da gestalt ou os preceitos formulados nos anos 50/60 como os de Jacques Bertin, continuando a ser uma boa base no processo de criação e percepção das marcas gráficas. Com a mudança de paradigmas que as novas tecnologias forjaram no zeitgeist do design e na actual conjuntura, procuramos confirmar se esses preceitos são válidos tanto nas marcas intemporais como nas marcas contemporâneas e fluídas, e criar uma ferramenta pedagógica que contribua para implementar uma literacia visual que descodifique este signo icónico, dentro desta nova realidade. Nela, com o acesso aos novos meios digitais, de interacção e colaboração, surgem expressões emotivas por parte de designers, estudantes e utilizadores nos sites da especialidade, sobre marcas gráficas, provando o interesse no objectivo deste projecto em curso.
- The logo is not flat: evolving picture marksPublication . Coelho, RitaFrom the boom of corporate identity in the 50s, 60 years have passed, and we now see picture marks become more complex and question axioms of identity design, like simplicity or bidimensionality. In these changing times, where access to technology and to information makes it possible for one to see the world as a ‘flat’ place [1], where virtually anyone with a computer can create, it is worth considering how much has changed and how much remains the same in picture marks design. Are the silent designers [2] — the technology and software — growing louder? Are picture marks mimicking each other? Are graphic marks following trendy solutions? It is clear the change of paradigms the new technologies have over the graphic zeitgeist. However, what are the consequences of the transformation in the modus operandi and its result in picture marks evolving solutions? And what does this evolution say about us? Being both a condensation of meaning about a corporation or institution and a rhetorical instrument by which to persuade an audience that a product or entity has distinctive and desirable qualities, picture marks are, therefore, a condensed representation of social identity. They are signs full of signification beyond themselves, representing ourselves and our world and by means of its analysis we can learn a bit more about our role as designers, our relation towards new technologies and foresee our role as designers in the future.
- Picture marks semiotics between ontwerpen and vormgevingPublication . Coelho, Rita; Aires, EduardoThis project seeks to implement and operationalize an analytical and schematic tool proposed in the doctoral thesis of Eduardo Aires applied to the first pages of newspapers (FBAUP: 2006), to the study of the symbol within the visual identity – the picture mark – starting with its semiotic analysis. Our research has the main objective to contribute to providing guidelines to facilitate both the communication and the methodology used by students and professionals of graphic design, translating, in a graphic way, implicit phenomena that is still in the spectrum of intuition, concerning Identity Design (specifically, the design of the graphic mark), and bringing them to the field of scientific definitions. It is our intention to provide the design of a picture mark, a graphic sign which is intended to synthesize, identify and bring positive values about an entity, with an educational tool that would constitute itself as knowledge so far nonexistent.