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Doctoral Thesis
DOI
10.11606/T.16.2009.tde-17112010-094224
Document
Author
Full name
Maria Helena Werneck Bomeny
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2009
Supervisor
Committee
Perrone, Rafael Antonio Cunha (President)
Costa, Carlos Roberto Zibel
Martins Filho, Plinio
Mazzilli, Clice de Toledo Sanjar
Wilke, Regina Cunha
Title in Portuguese
O panorama do design gráfico contemporâneo: a construção, a desconstrução e a nova ordem
Keywords in Portuguese
Comunicação visual
Design gráfico
Tipografia
Abstract in Portuguese
Tomando o design gráfico como eixo de observação, foram analisados os caminhos traçados na profissionalização dessa atividade e os fatores que levaram a mensagem a alcançar a forma gráfica atual. Nessa análise, foram consideradas as mudanças decorrentes não só da introdução da tecnologia digital, mas também das transformações de tendências e padrões culturais que determinaram o período estudado. Como ponto de partida foram utilizados os princípios modernistas, sistematizados pela Bauhaus e seqüenciados pelas diretrizes da Escola Suíça, que determinaram o papel do design gráfico como um transmissor neutro e cuja proposta era a claridade, a objetividade e a funcionalidade, por meio de formas universais e livres de valores regionais. O objetivo central foi analisar a perda da supremacia desses valores, acompanhada pela introdução da tecnologia digital, com novos equipamentos oferecendo novas ferramentas, possibilitando novos enfoques para a idealização dos projetos.
Title in English
The panorama of contemporary graphic design: construction, desconstruction and the new order
Keywords in English
Graphic design
Printing
Visual communication
Abstract in English
Taking graphic design as an observation axis, the course followed in the professionalization of this activity and the factors that led the message to take its current graphical form were analyzed. In this investigation, not only the changes brought about by the introduction of digital technology were considered, but also the transformation of cultural trends and patterns which determined the period studied. Modernist principles were used as a starting point, as systemized by Bauhaus and arranged by the guidelines established by the Swiss School, which determined the role of the graphic design as a neutral transmitter and whose proposal was clarity, objectivity and functionality, through universal forms and freed of regional values. The main objective was to analyze the loss of supremacy of these values, accompanied by the introduction of the digital technology, with new equipments offering new tools, which enabled new approaches in the conceptualization of projects.
 
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Publishing Date
2010-11-19
 
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