Design entre aspas: indícios de autoria nas marcas da comunicação gráfica
Autor(a) principal: | |
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Data de Publicação: | 2010 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Repositório Institucional PUCRS |
Texto Completo: | http://hdl.handle.net/10923/2122 |
Resumo: | “Quotation marks in design” is a thesis based on the assumption that any communicational interface is based upon relations of alterity which make subjects and their objects inseparable. Consequently, characteristics of either authorship or neutrality present in the communicator’s portfolio are an intentional effect of relations of alterity accorded between him/her and his/her client. Following that premise we asked ourselves: which evidences of authorship can be found in visual identity programs of one same designer and where his/her communicational and alterity relations differ from others? Attempting to answer those questions, our thesis tries to build both a theoretical and a methodological strategy to understand the role of the design process, as well as that of graphic communication in revealing evidences of authorship in projects of logotypes. From the perspective of comprehensive sociology, which stimulates various analytical viewpoints, the research questions “authored” design by exploring contextual, theoretical and empirical possibilities appeared in the last forty years. Contextually, it examines people’s collective imaginary, regarding logos designed from 1965 onwards. Theoretically, it looks for traces of authorship in visual design and their correspondent effects in communications, according to poststructuralists, semioticians, cultural critics, and other thinkers of the field and taking into account their methods and theories. Empirically, it describes, interprets and analyses graphic logos of contemporary Brazilian designers we interviewed in order to discover their main points in common, as well as their shared assumptions about design and their self-proclaimed projectual differences. |
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Weymar, Lúcia Bergamaschi CostaCauduro, Flávio Vinicius2013-08-07T18:46:20Z2013-08-07T18:46:20Z2010http://hdl.handle.net/10923/2122“Quotation marks in design” is a thesis based on the assumption that any communicational interface is based upon relations of alterity which make subjects and their objects inseparable. Consequently, characteristics of either authorship or neutrality present in the communicator’s portfolio are an intentional effect of relations of alterity accorded between him/her and his/her client. Following that premise we asked ourselves: which evidences of authorship can be found in visual identity programs of one same designer and where his/her communicational and alterity relations differ from others? Attempting to answer those questions, our thesis tries to build both a theoretical and a methodological strategy to understand the role of the design process, as well as that of graphic communication in revealing evidences of authorship in projects of logotypes. From the perspective of comprehensive sociology, which stimulates various analytical viewpoints, the research questions “authored” design by exploring contextual, theoretical and empirical possibilities appeared in the last forty years. Contextually, it examines people’s collective imaginary, regarding logos designed from 1965 onwards. Theoretically, it looks for traces of authorship in visual design and their correspondent effects in communications, according to poststructuralists, semioticians, cultural critics, and other thinkers of the field and taking into account their methods and theories. Empirically, it describes, interprets and analyses graphic logos of contemporary Brazilian designers we interviewed in order to discover their main points in common, as well as their shared assumptions about design and their self-proclaimed projectual differences.“Design entre aspas” é uma tese que parte dos pressupostos de que toda a comunicação se baseia em relações de alteridade, de que são indissociáveis os sujeitos e seus objetos e, sendo assim, de que a autoria (ou a neutralidade) presente no portfólio de um comunicador é efeito intencional das interlocuções estabelecidas. Neste cenário, se questiona: Que indícios de autoria podem ser verificados nos diferentes projetos de identidade visual de um mesmo designer em que as relações de comunicação e alteridade entre ele e seus clientes diferem? Na tentativa de buscar respostas à questão a tese objetiva construir uma estratégia teóricometodológica para o entendimento do processo de design e do circuito da comunicação gráfica com o intuito de verificar indícios de autoria em projetos de marcas. A partir da perspectiva da sociologia compreensiva que estimula vários ângulos de análise para cada objeto de análise a pesquisa problematiza o design autoral explorando-o e analisando-o em suas dimensões contextuais, teóricas e empíricas num recorte que perpassa os últimos quarenta anos. Contextualmente, examina o imaginário coletivo no que se refere a marcas projetadas a datar de 1965 através da pesquisa bibliográfica e documental. Teoricamente, pesquisa a autoria em design e seus efeitos comunicacionais pelo interior de variados dispositivos criativos tais como as discussões pós-estruturalistas acerca de autoria, os discursos estadunidenses e britânicos por elas instaurados, a teoria semiótica, os estudos acerca de identidade cultural e identidade visual e, enfim, as teorias e métodos projetuais em design.Empiricamente, descreve, analisa e interpreta marcas gráficas de designers de renome nacional por meio da experiência factual de entrevistas com eles realizadas, de onde emergem simultaneamente generalizações e particularizações coerentes, ainda que polêmicas, com a pesquisa pós-moderna em design gráfico.Made available in DSpace on 2013-08-07T18:46:20Z (GMT). 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dc.title.pt_BR.fl_str_mv |
Design entre aspas: indícios de autoria nas marcas da comunicação gráfica |
title |
Design entre aspas: indícios de autoria nas marcas da comunicação gráfica |
spellingShingle |
Design entre aspas: indícios de autoria nas marcas da comunicação gráfica Weymar, Lúcia Bergamaschi Costa COMUNICAÇÃO SOCIAL COMUNICAÇÃO VISUAL COMUNICAÇÃO GRÁFICA DESIGN GRÁFICO MARCAS |
title_short |
Design entre aspas: indícios de autoria nas marcas da comunicação gráfica |
title_full |
Design entre aspas: indícios de autoria nas marcas da comunicação gráfica |
title_fullStr |
Design entre aspas: indícios de autoria nas marcas da comunicação gráfica |
title_full_unstemmed |
Design entre aspas: indícios de autoria nas marcas da comunicação gráfica |
title_sort |
Design entre aspas: indícios de autoria nas marcas da comunicação gráfica |
author |
Weymar, Lúcia Bergamaschi Costa |
author_facet |
Weymar, Lúcia Bergamaschi Costa |
author_role |
author |
dc.contributor.author.fl_str_mv |
Weymar, Lúcia Bergamaschi Costa |
dc.contributor.advisor1.fl_str_mv |
Cauduro, Flávio Vinicius |
contributor_str_mv |
Cauduro, Flávio Vinicius |
dc.subject.por.fl_str_mv |
COMUNICAÇÃO SOCIAL COMUNICAÇÃO VISUAL COMUNICAÇÃO GRÁFICA DESIGN GRÁFICO MARCAS |
topic |
COMUNICAÇÃO SOCIAL COMUNICAÇÃO VISUAL COMUNICAÇÃO GRÁFICA DESIGN GRÁFICO MARCAS |
description |
“Quotation marks in design” is a thesis based on the assumption that any communicational interface is based upon relations of alterity which make subjects and their objects inseparable. Consequently, characteristics of either authorship or neutrality present in the communicator’s portfolio are an intentional effect of relations of alterity accorded between him/her and his/her client. Following that premise we asked ourselves: which evidences of authorship can be found in visual identity programs of one same designer and where his/her communicational and alterity relations differ from others? Attempting to answer those questions, our thesis tries to build both a theoretical and a methodological strategy to understand the role of the design process, as well as that of graphic communication in revealing evidences of authorship in projects of logotypes. From the perspective of comprehensive sociology, which stimulates various analytical viewpoints, the research questions “authored” design by exploring contextual, theoretical and empirical possibilities appeared in the last forty years. Contextually, it examines people’s collective imaginary, regarding logos designed from 1965 onwards. Theoretically, it looks for traces of authorship in visual design and their correspondent effects in communications, according to poststructuralists, semioticians, cultural critics, and other thinkers of the field and taking into account their methods and theories. Empirically, it describes, interprets and analyses graphic logos of contemporary Brazilian designers we interviewed in order to discover their main points in common, as well as their shared assumptions about design and their self-proclaimed projectual differences. |
publishDate |
2010 |
dc.date.issued.fl_str_mv |
2010 |
dc.date.accessioned.fl_str_mv |
2013-08-07T18:46:20Z |
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2013-08-07T18:46:20Z |
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info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/doctoralThesis |
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doctoralThesis |
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por |
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openAccess |
dc.publisher.none.fl_str_mv |
Pontifícia Universidade Católica do Rio Grande do Sul Porto Alegre |
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Pontifícia Universidade Católica do Rio Grande do Sul Porto Alegre |
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