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Economia e política de desenvolvimento
Dissertação apresentada à Faculdade de Arquitectura, para obtenção do grau de Doutor em Design
Dissertação apresentada à Faculdade de Arquitectura, para obtenção do grau de Doutor em Design
Disponível na Biblioteca da ESACB na cota C30-22883TFCORN.
Trabalho de Projeto apresentado à Escola Superior de Artes Aplicadas, do Instituto Politécnico de
Castelo Branco, em associação com a Faculdade de Arquitectura, da Universidade Técnica de
Lisboa para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Design
Gráfico.
Actualmente, a linguagem universal é cada vez mais procurada e utilizada para transmitir informações, de um modo pertinente e de fácil descodificação. Neste sentido, a linguagem passa a ter uma forma gráfica e menos textual, onde a uniformização e a simplicidade do grafismo passam a ter uma extrema impotância para a comunicação entre objeto/utilizador. Contextualizando este conceito, os sistemas de signos são o elemento-chave para transpor uma mensagem facilmente descodificada pelo utilizador, independentemente da sua cultura ou idioma. Com este pensamento, pretende-se perceber até que ponto é possível desenvolver um programa europeu de um sistema de orientação e informação pública, que seja adaptável a diversos países. Neste contexto, a apresentação, a investigação visa a problemática desta diversidade nos sistemas de símbolos na Europa, onde não existe um sistema que se encontra adaptável e uniformizado. Pretende-se assim desenvolver uma investigação com base numa metodologia que consiga potencializar o desenvolvimento de um programa europeu para a conceção de um sistema de símbolos para a informação pública
No âmbito do Design, é graficamente, sistematiza-se e aprofunda-se o conhecimento das curvas cónicas e, em especial, sobre as suas construções geométricas, contribuindo para o reconhecimento da importância do estudo destas curvas e das superfícies geradas a partir delas no ensino da geometria no Design. Utiliza-se um método expositivo de análise crítica do conhecimento existente, propondo-se ângulos de abordagem menos usuais. Procura-se, ainda, suprir o insuficiente conhecimento e divulgação científica das cónicas em Portugal, e em particular no Design, de três modos: pela sistematização do conhecimento existente, pela adaptação do conhecimento da geometria projetiva, com expressão na geometria plana e na geometria analítica, para a linguagem dos traçados geométricos em geometria plana e em geometria descritiva e, ainda, pela contribuição para a utilização mais generalizada, designadamente com os meios tecnológicos atuais.
Paralelamente, identificam-se potencialidades das curvas na capacidade de resolução de problemas de representação gráfica rigorosa, por designers e outros profissionais, designadamente os das áreas das artes visuais e da arquitetura, com reflexos no ensino e na prática profissional. Exemplificam-se utilizações dos traçados das curvas cónicas e das superfícies geradas com elas, no Design e em outras áreas, simplificando soluções e reafirmando a importância e atualidade da geometria plana e da geometria descritiva, tanto no processo de construção do conhecimento e no desenvolvimento do projeto, como nas aplicações práticas, enquanto suporte conceptual e representação gráfica.
Tendo em vista a simplificação da aplicação das cónicas e das superfícies geradas com elas em projetos de Design, resolveram-se alguns problemas com solução complexa, ou sem solução, na literatura consultada. Para tal, utilizámos métodos menos usuais, designadamente alguns derivados da geometria descritiva e, sobretudo, procurando integrar os conhecimentos mais recentes sobre as cónicas.
Tal abordagem permitiu ainda o aprofundamento de conhecimento com potencial interesse teórico em diversas áreas e o enunciar de algumas propriedades das cónicas que não se encontraram descritas na literatura, numa relação dialética entre teoria e prática, num contexto que contribui para a reafirmação da geometria descritiva, na sua capacidade de desenvolvimento do pensamento criativo.
The following article describes a creative strategy in the learning environment regarding Digital Design, specifically the development of visual exploration on emotional archetypes to a group of students of Master of Graphic Design of the School of Applied Arts of the Polytechnic Institute of Castelo Branco, Portugal in the academic year 2018/19. The research topic was introduced in the development of a communication project for the Agro-Food product, bee pollen. The article presents the introduction to the problem, hypothesis, objectives, strategy, results, and conclusion. The development of the visual exploration strategy included the theoretical framework of Wertime [8], and Woodside, Sood and Miller [9], Although the results point out the richness of the proposed strategy in communicating the importance of the emotional concept among students and the notion of structure in the communication, The authors assessed from the resulting experience, the complexity of communicating the possibilities of the use of archetypal images in the development of communication solutions.
Traffic signs are not globally standardized, and there are different signage systems all over the world. The system of traffic signaling in Portugal comes from the European System, ratified on 19th September 1949 in Geneva, which has slowly evolved, with occasional changes and often driven by international agreements. Currently the road signaling system is regulated by the Regulatory Decree No. 22-A/98 of October 1st, which approves the Traffic Signaling Regulation. For the present research it is vital to include, in the vertical signaling system to be placed on public roads, tourist-cultural signaling, which is intended to convey information about places, buildings or groups of buildings and other motifs of particular relevance (cultural, historical-heritage or landscape). Following a first case study, it was found that not all pictograms present in vertical signaling are perceptible and understandable. The level of simplification and development of pictograms for application in projects for vertical signaling is very disparate, some of them extremely simplified and easily perceptible and other require a higher level of interpretation by the user, due to sign complexity.
Dissertação apresentada à Faculdade de Arquitectura da Universidade Técnica de Lisboa para obtenção do grau de Doutor.
Contém ref. bibliográficas
Contém ref. bibliográficas
Dissertação apresentada à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco, em associação com a Faculdade de Arquitetura da Universidade Técnica de Lisboa, para obtenção do grau de Mestre em Design Gráfico
Contém ref. bibliográficas
Relatório do Trabalho de Fim de Curso de Engenharia das Ciências Agrárias – Ramo Animal.
Tese apresentada à Faculdade de Arquitectura da Universidade Técnica de Lisboa para obtenção do Grau de Doutor em Design.
Trabalho de Projeto apresentado à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco em
associação com a Faculdade de Arquitetura da Universidade de Lisboa para cumprimento dos requisitos necessários à
obtenção do grau de Mestre em Design Gráfico.
Só estão disponíveis o resumo e o abstract.
Dissertação apresentada à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco e Faculdade de Arquitectura da Universidade Técnica de Lisboa para obtenção do grau de Mestre em Design Gráfico
Dissertação apresentada à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco e Faculdade de Arquitectura da Universidade Técnica de Lisboa para obtenção do grau de Mestre em Design Gráfico
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Brand Visual Identity is an identification system that, with flexibility, ensures the unity
and coherence of visual communication (in multiple media: physical as products,
objects, or graphics; architectural and ambiance; audio-visual; digital and virtual).
Brand Marks occupy a top place in the good performance of most Brand Visual Identity systems, even when these rely more on imagery and use Brand Marks with less
expressiveness. In dynamic Visual Identity systems, the Brand Marks may constitute
themselves as systems within the Brand Visual Identity supersystem. This study aims
to dissect existing brand marks, focusing on how the graphic components (symbol,
logotype) are designed, prioritised, and correlated to achieve differentiation, contrast,
recognition, and memorisation. This include an empirical examination based on direct
observation and exploration and in survey by questionnaire with a sample of 400 participants, aiming at the definition of design principles to aid the design of Brand Marks
and to be considered in the definition of the “map of competitors” tool, which intends
to aid in the analysis of multiple visual identities competing in the same market or
segment.
Brand Mark is one of the most relevant visual identity elements for the differentiation and identification of a brand and often the most used sign in various media. Although the effectiveness of some contemporary brand visual identity systems does not depend heavily on an easily recognizable symbol and/or logotype, Brand marks still play a very relevant role in most cases, especially in small systems.
Previous studies were dedicated to the definition of selection and design criteria, as well as to the identification of connotations and Brand marks typologies in specific markets.
However, the need for a tool for analysis and evaluation of Brand Marks persists, detecting graphic sectorial codes and the characteristics that determine symbolic and graphic effectiveness, power of fascination and comprehension.
This work takes Visual Identity as research field of study and Brand marks as the research topic. The investigative process deals with the Semantic and Syntactic analysis of its infrasign of Brand Marks, in its relationship with the brand image.
Based on literature review and framework of other studies or previous proposals, our main results are the definition of design principles and the identification of components that integrate the Brand Competitors Map for analysis of visual identity systems and of Brand Marks in particular.
In the scope of Branding projects, the (re) designing of the Visual Identity of Brands or in the scope of audits of Brand Image, we proceed to the research on Brand Marks. This analysis falls on the Brand Marks that will be intervened, but also on Brand Marks of competitors or cases considered as good practices. The research stage on Brand Marks is common in academic or professional projects and students and professionals have difficulty in giving meaning and usefulness to the information collected. The most widely used visual analysis tools allow for the characterization of samples made up of Brand Marks, but these do not help in the extraction of specific conclusions centered on meaning and design. This article describes the development of the competitors map, the Visual Research Tool which allows the objective analysis of Brand Marks, which allows for decision making about the design effectiveness of an isolated Brand Mark or about its (re) design by comparison to a sample of competing Brand Marks. This Visual Research Tool has been developed through literature review, analysis of other tools, the inclusion of a semantic, syntactic and pragmatic analysis, which also includes classifications such as the iconicity scale or the Vienna Classification, as well as principles of visual rhetoric. Using visual and symbolic data, this Visual Research Tool supports professionals and students to create strategic strategies for Brand Visual Identity. This article reports on the creation and evaluation of the Brand Marks’ competitor map.
This paper aims to present a paradigm regarding the circular economy (CE) concept's communication, referring to the difficulty presented by the type of reflexivity involved in the circular economy process. We conduct an exploratory study methodology intended “to develop pertinent hypotheses and propositions for further inquiry, a study developed in the context of the project, Program INTERREG V-A Spain-Portugal (POCTEP) 2014–2020, REiNOVA_SI (Re-industrialization of the agri-food sector - Sustainability and Innovation) is a transnational cooperation project between Portugal and Spain which aims to promote the use of circular economy practices in agri-food micro-enterprises and SMEs. The paper draws the hypothesis, in Design thinking context, that gamification can induce a reflexivity thinking on CE, specifically on Agrofood entrepreneurs in the Portuguese context. Reflexivity could empower the connection between the company and its local context and stakeholders dissuading the drivers for abroad markets positioning.
The greater influx of tourists to certain territories raised the need to inform, guide and communicate basic messages, with a universal language, expressed through various analog and digital supports. This proliferation of means has led to a profusion of guidance and public information systems, some of which are regulated (such as the traffic signs system, signaling of routes and paths or the signaling of protected areas) and other unregulated systems (such as the signaling of religious, equestrian, municipal, historical, heritage and cultural routes, etc.).
This article is the result of an ongoing research project, which aims to systematize tourist signage in Portugal, in order to satisfy and induce the potential or real demand for guidance, direction and information of tourists, in a clear and precise way, in addition to transmitting a unique and homogeneous image of the tourist product. Its scope will provide a clear reference framework, which facilitates the implementation of a normalized system by the organizations responsible for the standardization and implementation of tourist signage in Portugal.
The purpose of the article is to study how the brand’s visual identity contributes to the understanding, accessibility and enjoyment of information, adapting the message to different cultures and profiles of people, users or target audiences. Identity promotes sustainability and respect for people’s quality of life. The methodology used is mixed, including a non-interventionist phase consisting in the study of competing brands, audience map and persona method and an interventionist component through project-grounded design research, which includes participatory methods such as co-design and Design thinking. The results are a visual identity of the mountain olive oils brand that acts simultaneously as an interface of representation of the collective, the individual and the region (internal audiences), fulfilling the expectations and needs of the target public and other stakeholders. Design principles and good practices are also defined to ensure that visual identity continues to function as a cultural interface of the territory in a sustainable logic and not just business requirements.
The purpose of this paper aims to describe the implementation of a Design Diagnosis practice within the scope of an International project under the acronym – REINOVA (Reindustrialization, entrepreneurship, and innovation in traditional productive sectors) was a project conducted by an international consortium composed by Portuguese and Spanish Institutions. The research presented is based on specific implementation of a strategy for the development of solutions within the scope of Design from the ESART partner within the REINOVA methodology. The discussion sessions that included the display of visual boards to the micro-entrepreneurs summarized the results of the image diagnosis and positively influenced the consumption context of some of the products previously idealized, namely the target audience, as well as the doses and form of presentation/communication of the product. The incentive programs for micro-companies must consider the volume of information that entrepreneurs need to address regularly, avoiding entropy in communication with small organizations.
Contém ref. bibliográficas
