Sustainable communication design

Tese para a obtenção do grau de Doutor em Design, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Design gráfico alternativo

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura

Design editorial para crianças dos 6 aos 8 anos

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Design gráfico e o livro infantil

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

A eficiência da animação no processo de comunicação

Dissertação para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Identidade corporativa aplicada a um projeto de design

Dissertação para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitetura.

Design gráfico para televisão

Dissertação para obtenção do grau de Mestre em Design de Comunicação apresentada na Universidade de Lisboa - Faculdade de Arquitetura.

A ilustração enquanto processo e pensamento: autoria e interpretação

A ilustração como expressão, cumprindo o desígnio de comunicar visualmente, é reveladora de um modo específico de processo e pensamento. E pelo facto desse modo se constituir a partir do sentido implícito (do que não é dito), exigindo para se manifestar a participação cognitiva e afectiva do ilustrador, revela marcas de subjectividade e de poética portadoras de soluções narrativas, gráficas e plásticas originais. Essa transmutação entre as linguagens verbal e visual está impregnada de experiências, memórias e conhecimento; de tudo aquilo, enfim, que pelo corpo é percebido e sentido. Por isso se entende que configura, necessariamente, algo novo, já que não existem dois seres organicamente iguais. Tem-se como objectivo desta tese, reflectir sobre a ilustração ficcional enquanto construção de um autor na interpretação do texto de um outro, querendo, deste modo, contribuir para a afirmação do que é hoje a ilustração. Pretende-se, neste percurso, compreender os desígnios que cumpre a ilustração na actualidade e explicar o seu protagonismo no contexto presente do design de comunicação; quer-se ainda evidenciar que a prática da ilustração contamina ou influencia a prática do projecto de design; e que, por seu lado, a prática do projecto de design confere um entendimento distinto à prática da ilustração. As ilustrações que serão aqui objecto de estudo, são aquelas que manifestam um processo em cuja génese está a interpretação e o sentido que o seu autor atribui ao programa, e que se identificam, por isso, como próximas do projecto de design. O trabalho prático desenvolve-se pela selecção de autores que correspondem a esses pressupostos, pela sua entrevista e pela apresentação de projectos da sua autoria que justificam e reforçam a perspectiva teórica. Do confronto entre as respostas e os artefactos produzidos, conclui-se que a ilustração é, na singularidade do seu pensamento e enquanto recurso expressivo, configuradora de inovação semântica para o projecto de design de comunicação.

The transformation of landscape as as aesthetic idear

The present study seeks to thoroughly investigate and delineate the concept alongside the transformation of landscape as an aesthetic idea. On the one side it runs that nature perceived as landscape remains nothing else but granted, evident or 'natural'. On yet another side, and to some fairly significant extend, this thesis identifies landscape as a sheer idea and concept that is shaped and (re-)mediated in an ongoing process. The thesis examines the role of the observer and brings into agreement that every landscape is a produce of creative mental processes. In brief outline, this approach provides a framework for identifying landscape as being inextricably linked with media from the very beginning of their social and cultural inception. As glowing examples for the paradigmatic shift of the classical subjective vision model culminating in the emergence of a new prototype, the camera obscura, together with the panorama, fortify the prevailing argument that the mode of human sense perception is organised and determined by earlier acquainted recognitions. In this matter, as each and every medium strive after accomplishment, then this accomplishment is substantially determined by overwhelming historic, as well as thriving cultural circumstances. In conclusive terms, this study seeks to show how landscape counts as content of a representation, while simultaneously being a very own medium that specifically carries social, geological as well as historic knowledge. In fact, modern vision shall therefore never be bound to any single format or process, rather it will have to always undergo procedures aiming at reshaping the perceivable. Landscape is playing out its major characteristic, specifically that of being, in essence, a purely intellectual, virtual and synthetic product

A forma do tempo : a timeline interativa como meio de visualização temporal

This thesis takes a theoretical and practical approach to data visualization, focusing in particular on interactive timelines as a means to mapping historical/cultural narratives. It seeks to understand how timelines can efficiently communicate a historical narrative, enhancing the topic’s comprehension whilst relating it to the surrounding context. For this purpose, an interactive timeline on Design in Portugal from 1900 to present, was conceptualized and developed. The research adopted a descriptive methodology. The theoretical framework depicts the basic concepts, models and taxonomies associated to timelines, which derive from the main studies available on the matter. From this, a model for the analysis of three case studies – Idea Line (2002), The Path of Protest (2011) and British History Timeline (2006) – was proposed. The selection criteria shows that they refer to interactive timelines depicting a historical narrative, in addition to being as heterogeneous as possible with respect to the themes presented and conveyed purposes. The comparative analysis produced a set of thoughts, conclusions and principles, subsequently considered and applied in the development of the timeline presented. The results of this study point to the decisive role of visual setup of the time axis and user tasks in the interpretation of information. The effective implementation of the timeline Design in Portugal: from 1900 to present, contributes to the study of timelines as information devices with its own characteristics and capabilities, promotes associated research and theoretical systematization and, on a pragmatic note, helps creating the basis for the gathering, compilation and presentation of relevant information on design in Portugal, providing the academic and professional community with an effective tool for referring and learning

User interface de aplicações móveis para museus : atenção partilhada

With the emergence and growing supply of mobile apps for museums it becomes relevant to study the importance of all the design aspects of those apps in order to provide users/visitors with a better museum experience. One of these aspects is User Interface (UI) which may condition the quality of the application experience as well as the museum experience, serving the function of intermediary. Since interface design must combine usability with appearance (Schlatter e Levinson, 2013) the design must always appeal to the user, representing also a potential source of distraction. Hence the concern of this dissertation is to understand how we can distribute the user's attention in a balanced way, between the application and the exhibition via the User Interface design. For better understanding of the issue – sharing the attention between the physical experience and the application - questions are addressed as: what represents a distraction during a visit to a museum and what comprises the attention process. Thus, it was possible to find some good and bad practice to design a good mobile UI which suits the visual criteria and does not require too much visitor’s attention, serving as a complement to the visit

Do arquivo ao novo : impactos da tecnologia digital no armazenamento e disseminação da informação na cultura contemporânea

While taking paths from the archive to the new, this dissertation reflects on the resulting impacts of the introduction, massification and dissemination of digital technology, in the way we store and deal with information, inside the complex that we understand as culture. To this end, a theoretical investigation is performed in order to build a conceptual body from which concepts are drawn in order to effectuate a practical research. The theoretical research starts with an exordium in which the concept of the archive is deconstructed in order to identify it as a device of power and to analyse its transition from a technical analog object into a digital technology. Following this, a historical context is established, drawing on the evolution of power exercises and apparatuses, and a reading of the impacts of the present technological mediation on experience, knowledge cons¬truction and forms of control is developed. Finally, some hypotheses on the evolution of technology are formulated. The practical research materializes in the form of a digital platform which takes place in two moments: one of archive, the other of program. The first moment, of archive, con¬sists of a repository of projects dealing with the dissertation’s subject. The second moment, of program, is configured as a cultural program implemented through computer programs. These, in their execution, result in performances which, taking from the information col¬lected on the archive generate a new experience of that same information. To this effect, a framework was structured in order to have computational processes systematized in a way that the performances result in experiences with a potential for novelty, expression and reflection. Both theoretical and practical components of the research seek to address digital technology not as an end in itself, but as a factor that affects human experience and behaviour

Selfmapping : o mapa colaborativo como medium de visualização espácio-temporal

THE MAP AS A COLLABORATIVE MEDIUM FOR SPATIO-TEMPORAL VISUALIZATION This dissertation focuses on the relationship between maps and spatio-temporal data visualization. It is divided into two components: theoretical framework and practical approach. The study begins by questioning the role of the map in today’s digital society and particularly its role in visualization, and finishes with the conceptualization and development of an interactive dot map that visualizes data from Instagram and Twitter. Nowadays, geographic information is no longer produced just by experts, but also by ordinary people that are able to participate in data creation and exchange. The Web 2.0 lies in the heart of this change, where social media represent a significant tool for producing geotagged content, allowing its users to share their location and to spatially reference their publications. Furthermore, amateur mapmaking and neogeography have benefited from the emergence of several new devices that enable the creation of digital maps that are interactive, adaptable and easily shared on the Web. This study adopts a descriptive approach calling upon the diverse aspects of the map and its evolution as a medium for visualizing geotagged data, highlighting collaborative mapping as an emerging subject area that is of mandatory future research. Relevant projects are also analyzed in order to identify trends and different approaches for visualizing social media data in its spatial context, intended to support the project’s conceptualization, development and evaluation. The created map demonstrates how spatial knowledge and perception of place are now redefined by the contributions of individuals; it also shows how that activity produces new sources of geographic information, forcing the development of new techniques and approaches that allow an adequate exploration of content and visualization methods of the contemporary map

Jogos olímpicos de Luanda 2024

Os Jogos Olímpicos constituem um dos maiores cenários da comunicação social moderna, manifestando-se em diversos aspectos, desde e aplicação de tecnologias informáticas e de telecomunicações, até novas aplicações audiovisuais e de design gráfico. Durante a celebração dos Jogos Olímpicos, várias modificações ao nível de sinalização e decoração urbana são postas em prática, com o objectivo de fazer da cidade anfitriã um local de acolhimento e boas vindas para os visitantes e meios de comunicação. É um acontecimento desportivo internacional que além do carácter competitivo também pode ser visto como um símbolo de paz e união entre as nações. Sendo os Jogos atendidos maioritariamente por um público internacional e multilingue, foi-se tornando claro ao longo das suas celebrações que uma forte identidade visual, assim como um design de comunicação abrangente e de fácil percepção, eram parâmetros de relevante importância durante o processo de planeamento dos mesmos. Este projecto de mestrado visa criar um manual de identidade visual para umas olímpiadas de carácter fictício a serem realizadas na capital de Angola no ano 2024. Para tal, tive como base um enquadramento teórico focado na cultura visual angolana e na cultura visual olímpica, de forma a poder interligá-las através do design gráfico, comunicação visual e cultura. Este trabalho aspira ajudar a perceber os factores que influenciam a realização de um trabalho de identidade visual. Abrange paradigmas da cultura local e global, assim como componentes essenciais a cultura dos Jogos Olímpicos. Passa por elementos específicos da cultura visual, que vão desde o logótipo, à identidade de marca, à tipografia, formas e cor, entre outros.