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Journal articles on the topic 'Art / Graphic Design'
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1
Wang, Ting. "Graphic Art Design Based on Computer Graphics Software." Journal of Physics: Conference Series 1533 (April 2020): 032019. http://dx.doi.org/10.1088/1742-6596/1533/3/032019.
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Chen, Huijuan, and Xintao Zheng. "Improved Newton Iterative Algorithm for Fractal Art Graphic Design." Complexity 2020 (November 27, 2020): 1–11. http://dx.doi.org/10.1155/2020/6623049.
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Fractal art graphics are the product of the fusion of mathematics and art, relying on the computing power of a computer to iteratively calculate mathematical formulas and present the results in a graphical rendering. The selection of the initial value of the first iteration has a greater impact on the final calculation result. If the initial value of the iteration is not selected properly, the iteration will not converge or will converge to the wrong result, which will affect the accuracy of the fractal art graphic design. Aiming at this problem, this paper proposes an improved optimization method for selecting the initial value of the Gauss-Newton iteration method. Through the area division method of the system composed of the sensor array, the effective initial value of iterative calculation is selected in the corresponding area for subsequent iterative calculation. Using the special skeleton structure of Newton’s iterative graphics, such as infinitely finely inlaid chain-like, scattered-point-like composition, combined with the use of graphic secondary design methods, we conduct fractal art graphics design research with special texture effects. On this basis, the Newton iterative graphics are processed by dithering and MATLAB-based mathematical morphology to obtain graphics and then processed with the help of weaving CAD to directly form fractal art graphics with special texture effects. Design experiments with the help of electronic Jacquard machines proved that it is feasible to transform special texture effects based on Newton's iterative graphic design into Jacquard fractal art graphics.
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Гула, Є. П. "СУЧАСНИЙ ГРАФІЧНИЙ ДИЗАЙН: СПЕЦИФІКА ІНТЕГРАЛЬНОЇ ПРИРОДИ ТВОРЧОСТІ." Art and Design, no. 3 (November 13, 2020): 25–33. http://dx.doi.org/10.30857/2617-0272.2020.3.1.
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Purpose. To study the features and peculiarities of defining the main definitions of the concept of graphic design, to define the scope of application of various types of graphic art as a design object. Methodology. General scientific research methods, analytical, typological, semantic and comparative analysis – for the terminological definition of the conceptual apparatus of graphic design and the definition of its theoretical and art applications. Results. Based on the analysis of scientific sources on modern foreign and Ukrainian graphic design, generalized aspects of interpretation of the concept of graphic design, evaluated its historical origins in Ukraine. The issue of differentiation of graphic design and many areas of graphic design as a type of artistic activity has been updated. The scientific novelty consists in identifying trends in the transition of the terminological apparatus of industrial design to the sphere of graphic design. It has been established that the synthetic creative nature of graphic design provides for creative activity on the use of modern means of information transfer in combination with the traditions of graphic art of Ukraine. Practical significance. Modern scientific definitions of graphic design have been summarised. It has been determined that the synthetic creative nature of graphic design provides for creative activity on the use of modern means of infrmation transmission in combination with the traditions of graphic art of Ukraine. The results can be used in teaching graphic design, project graphics and other graphic disciplines.
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Pascu, Nicoleta Elisabeta, Victor Adir, and George Adir. "Art and logo design." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 81–86. http://dx.doi.org/10.18844/prosoc.v7i4.5792.
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This paper aims to present a research study concerning the graphics and symbols in logo design exhibited in an art program dubbed ‘Golden Ages of Art Nouveau and Art Deco’. It was important for us to understand these trends, their characteristics and graphics, to create many times beautiful masterpieces of art. We have noticed a lot of differences between these two art movements related to symbols, signs and colours which were used. It was ‘a special art travel’ to study, theoretically and practically, the field of logo design connected to these ages. Starting from our research study, we have tried to make ‘a basket’ of features which characterises each trend. We have tried to explain the diversity of elements used as an art graphic design focused on logos. And, of course, we have tried to create logos using the features of Art Nouveau and Art Deco.
Keywords: Art Nouveau, Art Deco, logo design, feature, symbols, colours.
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Frascara, Jorge. "Graphic Design: Fine Art or Social Science?" Design Issues 5, no. 1 (1988): 18. http://dx.doi.org/10.2307/1511556.
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Tena Parera, Daniel. "Art and graphic design: the advertising boom." grafica 7, no. 14 (July 15, 2019): 129. http://dx.doi.org/10.5565/rev/grafica.156.
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Liu, Jun, and Cheng Mao Li. "The Research on Color and Text Usage in the Graphic Design." Advanced Materials Research 267 (June 2011): 149–54. http://dx.doi.org/10.4028/www.scientific.net/amr.267.149.
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Graphic design is an art with a specific purpose; it is a process of describing a business or product with art. In this process, color, graphics and text play a very important role. They are like three actors to undertake the projects, how to coordinate the relationship among them, to balance the roles, the designers should think in detail, should pursue. Anyway they have a long way to go on the road of graphic design. Design is planning on purpose, graphic design is one of the forms planned to be taken ,in the graphic design you should use visual elements to spread your ideas and plans , use color, text and image to spread the information to the audience so that people, through these visual elements, can understand your ideas and plans. Emphasis on the application of visual elements in graphic design, the combination of visual elements and design ideas, and these two methods will achieve the perfection of ideas to attract the viewer's eye, and to announce the achievement of broad objectives.
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Danylenko, Lesya. "Op-Art in the British Graphic Design of the 1960s–1970s. Fashion And Graphic Design." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 38–48. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235125.
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The article reveals the characteristic manifestations of the op-art style in British fashion on the examples of textile companies and individual designers, as well asin graphic design based on the analysis of printed products of British publications in the 1970s. It is claimed that the visual experiments of the op-art in the field of British fashion were most fully revealed in the activities of the textile companies "Heals", "Hull Traders" and "Edinburgh Weavers" and in the work of designer Mary Quant. And in graphic design — in the book covers of the popular science series "Pelican Books".
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Ajiprabowo, Gheraldi Waskito, and Handriyotopo Handriyotopo. "DESIGN PROMOTION MEDIA FOR REOG PONOROGO WITH GRAPHIC MOTION OF WAYANG KULIT." ARTISTIC : International Journal of Creation and Innovation 1, no. 1 (March 27, 2020): 25–37. http://dx.doi.org/10.33153/artistic.v1i1.2993.
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Reog Ponorogo art is an Indonesian cultural heritage that must be preserved in the mid of current cultural competition nowadays. One of the ways to preserve Reog art is by introducing it to the wider community, especially the younger generation. The purpose of this design is to produce motion graphic media to introduce Reog Ponorogo traditional art. This design uses the 5W+1H approach, with the following stages: 1) reviewing the problems; 2) developing with the relevant questions; 3) developing the answers of those questions; 4) making the right solution. The result of this study shows that the design of Reog Ponorogo motion graphics can be the right media to provide information about Reog art to the public, especially millennial youth. This motion graphic media is quite comprehensive, because it is completed with supporting media such as posters, print ads, merchandise, and Instagram.
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Guan, Jia Qing, and Jing Hu. "Analysis Artistic and Performance Applications of Oracle." Advanced Materials Research 542-543 (June 2012): 1357–61. http://dx.doi.org/10.4028/www.scientific.net/amr.542-543.1357.
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Oracle as an aesthetic element in the Chinese cultural system, it contains double genes of abstract characters and concrete graphics. According to oracle, we can understand ancient's life style and mental state more intuitive. It gives modern graphic design some inspirations: speaking in graphics, there is no more redundant characters to explain. Moreover, combining the characters and graphics of tradition and design concept is a trend of modern design development, only the national art can last permanent. Therefore, to comprehensive and profound understand oracle's plastic arts, thinking mode and explanation meaning have a far-reaching influence on modern graphic design.
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Apele, Diāna, and Ina Treiliņa. "ARTS DOMINANCE IN CALENDAR GRAPHICS DESIGN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 593. http://dx.doi.org/10.17770/sie2020vol5.5145.
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Art, in a way, is a form of communication, which allows the artist to express their view to the world, show their interpretation and let others see the world through the eyes of the artist. Calendars are the most popular and long-term means of advertising, which is why their design requires a lot of attention. It is important that it does not only look good, but also provides information, fulfils the function of a promotional souvenir and creates an image throughout the entire year ahead. Graphic design is a form of visual communication whose purpose is to solve visual and graphic problems using artistic approaches provided by typography, different printing technologies, or image processing techniques, mechanical or analogue methods, or digital, with the aim to create a graphic design work or solve a graphic problem. Graphic design is more like a visual intermediary between the message and its recipient and a way of delivering the message to the recipient. The Aim of the Article: study graphics as the dominant feature of art in the design of calendars created by modern Latvian artists and analyse expert interviews to find out the opinions of specialists in the field about the significance of the content and design of artistic calendars nowadays. The research results were obtained using theoretical research methods: the study, analysis and evaluation of scientific and journalistic literature and Internet sources, which reveals the essence of the problem in question; expert interviews were carried out as well, which are empirical research methods.
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SATO, Akiko. "Graphic Design and Art of Micro-and Nanoscale." Journal of the Visualization Society of Japan 39, no. 154 (2019): 14–18. http://dx.doi.org/10.3154/jvs.39.154_14.
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Langendorf, Richard. "Professional video graphic design: The art and technology." Computers, Environment and Urban Systems 15, no. 1-2 (January 1991): 83. http://dx.doi.org/10.1016/0198-9715(91)90086-s.
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Yang, Xu Guang. "Applications of Computer Graphics and Image Processing in Art Design." Advanced Materials Research 926-930 (May 2014): 1688–91. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.1688.
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With the rapid development of computer graphics , image processing technology and three-dimensional modeling techniques, the approach of the Art Design extends to the computer-aided design from the original hand-drawn. Since three-dimensional computer graphics software effects processing and display of 3D modeling software, strengthens the beauty and expressions of Graphic Arts, In the individual performance, ordered, three-dimensional effects and innovative design, etc. all have different design performance and function. More importantly, with the help of computer, an advanced tool, so many design ideas and effects using traditional performance art design methods are difficult to be realized. What is more, Image and behaving more realistic visual communication has greatly improved the performance of the force.
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Budnyk, Andrii. "THE INFLUENCE OF UKRAINIAN FILM POSTERS OF THE 1920s AND 1930s ON CONTEMPORARY GRAPHIC DESIGN." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 185–98. http://dx.doi.org/10.31866/2410-1915.22.2021.235912.
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The purpose of the article is to analyse the influence of the system of compositional techniques and graphics of the All-Ukrainian Photo Cinema Administration Film Poster School and Ukrainafilm on domestic graphic design. Research methodology. The author has applied historical, art history, and comparative analysis. Scientific novelty. Through the similarity matching in the world and Ukrainian design and the study of the use of design schemes, techniques and tools that are permanently used in graphic design, we reason the influence of the Ukrainian Poster School of the 1920s and 1930s on contemporary graphic design practice. Conclusions. Despite a long break for ideological grounds in the functioning and study of Ukrainian graphic design in the middle of the twentieth century, we record a noticeable influence of the means and techniques of Ukrainian poster art on modern trends. These are general compositional techniques: placing a formatted face or figure as a dominant on the entire plane of the image, designing a composition on the principle of a “playing card”, deliberately replacing grounds on the inverted perspective. There are local techniques: concentric circles as a compositional dominant, filling the main character’s glasses with visual elements or font content, and rhythmically repeating visual elements or font groups. The identified similarities can be valuable in the young designers training, taking into account the general development of Ukrainian graphics’ history and its single branch graphic design. It is also possible to use these schemes, techniques and tools in contemporary design education as a methodological basis for teaching poster design, designing, composition, layout and modelling.
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PİLİCİ, Elanur. "POSTMODERN REKLAM AFİŞİ TASARIMI." IEDSR Association 6, no. 11 (February 24, 2021): 329–42. http://dx.doi.org/10.46872/pj.245.
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The history of the art of graphic design and posters goes back to cave drawings during the Stone Age. Graphic design and posters are based on social needs and change in different stages of social development. They are now enjoying one of the apexes of their development. The art of graphic and poster design which developed and evolved in the historical and social development process, has taken on new dimensions during the transition from the modern to the postmodern period in accordance with the needs of our society of consumption and by using the technical/technological tools and methods within this period. In particular, the invention of the printing press, lithography, and the Industrial Revolution have led to great leaps in the art of graphic and poster design as in all other areas of life. Computer and digital technologies that were first developed in the middle of the 20th century almost brought about a revolution in the art of graphic and poster design. These great breakthroughs caused technical and technological innovations and changed the art of graphic design. While education in graphic design acquired an institutional dimension, its aims and objectives were transformed. Discussions of postmodernism, new forms of relationship, concepts and schools are reflected in the art. Relationships between postmodernism and graphic design, poster styles categorized as postmodern and advertising culture have caused new debates. Advertisements and advertising posters have acquired new forms to meet the needs of today’s consumer society, which are getting more and more complex. Its dynamics have changed posters and advertising. This study discusses the evolution of the art of graphic and poster design within the whole historical and social development process, its dimensions, postmodernism and striking examples of postmodern advertising posters.
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TOKGÖZ GÜN, Fatıma, and Mehmet ÖZKARTAL. "HYBRID REFLECTIONS IN POST-MODERN GRAPHIC DESIGN POSTERS." ATLAS JOURNAL 7, no. 44 (September 24, 2021): 2207–13. http://dx.doi.org/10.31568/atlas.766.
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Hybrid works in art have many examples from past to present. Hybridization in poster art has been in question since the first years when posters started to appear. Hybridization in designs can occur in terms of both method and technique. In present study, it is mentioned how graphic design has removed the boundaries between itself and many disciplines since the use of technology in the field of art and how it allows hybrid studies. As it is known, the main purpose of graphic design is to convey an existing idea to the other party in the simplest way. For this reason, graphic design, which updates itself over time, has added motion and sound to its work area and shows itself with effective designs. While technically designs consist of two-dimensional studies for years, they can also be designed in three-dimensional or even four-dimensional forms with hybrid methods. While poster designs are prepared as flat and static, they update themselves with kinetic typography and motion images. Moreover, with hybrid presentations such as augmented reality and virtual reality in current works, designs interact more with people. It is seen that the artists who can think from a hybrid point of view attract more attention and interaction with the hybridity reflected in their designs, and they also reach the intended result in a catchy manner.
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Bimo, Aryo. "Pengertian Art Direction dan Peranan Seorang Art Director dalam Periklanan." Humaniora 1, no. 2 (October 31, 2010): 388. http://dx.doi.org/10.21512/humaniora.v1i2.2881.
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Nowadays advertising is a field that is progressing rapidly and is quite popular majors marked by numerous educational institutions both private and the country that opened specialization advertising. One of the positions in the field of advertising that quite popular is Art Director. The skill of art directing is a bit much has been represented in the department of Visual Communication Design or Graphic design. But it is sometimes still confused between the duties and role of an art director and a graphic designer. This article gives a general overview of what is meant by Art Director as well as roles and duties.
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Klimova, Larisa, and Marina Plotnikova. "Actual trends of architectural forms and graphics in the costume design context." E3S Web of Conferences 210 (2020): 16008. http://dx.doi.org/10.1051/e3sconf/202021016008.
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This article is devoted to the study of the graphic trends and design activities’ relationship for a costume designer with modern architectural forms, as a source of inspiration and style formation for these subject-spatial creativity areas. The purpose of the article is to identify the specifics of the associative trends’ relationship in modern costume design with architecture and graphics. Identification of this specificity will help in establishing the relevant interdisciplinary connections in design education. To achieve this goal, the authors set the following tasks: 1) analysis of modern trends in costume formation based on identifying the features of the architectural forms’ influence on the modern costume design; 2) analysis of the general structural and graphic solutions between the modern presentation of architectural forms in the costume design by means of its graphic content. The authors proceed from the idea of the modern phenomena interaction in costume design, its graphics and architectural forms. In the analysis of the modern graphics and architectural forms’ main features in the conceptual solution to the costume design, common features of interaction are revealed. Changes in the art and design activities in the direction of graphic symbolism and imagery are revealed on the example of modern trends in architecture. The results of the study on the introduction of interdisciplinary communications are tested in classes on design in the material’s project implementation, special graphics and concepts in design.
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Nemtchinova, Elena E., Stepan A. Popov, Yuri N. Kepa, Daria Yu Ermilova, and Nadezhda B. Lyakhova. "Memphis patterns in graphic design." LAPLAGE EM REVISTA 7, Extra-D (July 21, 2021): 427–33. http://dx.doi.org/10.24115/s2446-622020217extra-d1123p.427-433.
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The purpose of this work is to study the theory of Memphis patterns use, as well as the use of elements of ornamental art in graphic design, which are extremely relevant in modern design. The Memphis pattern trend in modern graphic design requires in-depth analysis. Why is the specificity of the means of expressing Memphis patterns associated with the requirements of today’s effective communication? This study examines the techniques of the artistic language of the Memphis pattern and its expressive means. The analysis of the used ornamental elements is carried out. The connection between the Memphis and the neo-geo styles of their artistic techniques, which are based on the ornaments of the past, is outlined. The study notes that a person at all times is connected with their past and their ideas about beauty are returning today in new forms of digital technologies. The provisions of the study are of methodological value for understanding the current trends in graphic design.
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Temerbekova, A. A., and G. V. Baykunakova. "FORMATION OF GRAPHIC CULTURE OF STUDENTS: CREATIVITY – ART-DESIGN." Tomsk State Pedagogical University Bulletin, no. 5 (2018): 189–93. http://dx.doi.org/10.23951/1609-624x-2018-5-189-193.
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Talvik, Merle. "Art Deco in Estonian and Latvian Graphic Design Journals." Folklore: Electronic Journal of Folklore 30 (2005): 43–64. http://dx.doi.org/10.7592/fejf2005.30.talvik.
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Pryshchenko, Svitlana Valeriivna. "CREATIVE TECHNOLOGIES IN ADVERTISING DESIGN." Creativity Studies 12, no. 1 (May 24, 2019): 146–65. http://dx.doi.org/10.3846/cs.2019.8403.
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The purpose of this article was analyses the existing methodological approaches to art, culture, design, advertising for the further effective designing of advertising products, increasing its positive value orientations and aesthetic level. The research area is the visualization of advertising ideas taking into account of regional specificity and ethno-cultural identification. Scientific study of cultural-aesthetic component in advertising design has the aim to systematize visual means of information and make a complex definition of their functional specifics in contemporary society, which is much wider than thirty years ago. The advertising graphics presented as visual art, visual culture and visual communication. On examples, we considered the creative advertising technologies: metaphors, hyperbole, associations, allegories and metonymies using colour-graphic imaginative means. Orientation of products to regional consumer groups, significant change of market policy presupposed cardinal change in tasks and character of advertising: socio-psychological, cultural and art-aesthetical indices become actual. Definition of imagery as specific tool of creativity on the point of view different aesthetic ideals is a key to understanding the process of art projecting. So, our comprehensive research summarizes stylistics of advertising graphics in the context of cross-cultural communications from posters to new advertisings forms – digital media
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Будник, А. В. "ЮРІЙ КРИВДІН – МАЛОВІДОМЕ ІМ’Я УКРАЇНСЬКОГО ГРАФІЧНОГО ДИЗАЙНУ 1920–30-х рр." Art and Design, no. 4 (February 15, 2021): 60–69. http://dx.doi.org/10.30857/2617-0272.2020.4.4.
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Purpose: organize and analyze the legacy of a little-known artist, make an attempt to collect biographical data, trace the relationship of creative principles with world trends in graphic design of that period. Methodology. Historical-comparative and art-scientific methods of analysis were used for the research. Results. During the 1920s and 1930s, Ukrainian magazine graphics underwent a final transformation from the aesthetics of modern and eclecticism to the style of constructivism, which called for the work of masters of a new type of graphic thinking, such as Yuriy Kryvdin. The investigation for the first time analyzed the activities of a little-known representative of Ukrainian constructivism – Yuriy Kryvdin, who worked in the field of magazine graphics and layout, collage, book design. The influences of world tendencies of graphic design on creativity of the master, typology of imitation are investigated. Samples of the artist's autographs were collected and the publishing spheres to which the artist made efforts were systematized. His literary activity and its connection with artistic creativity are briefly reviewed. Scientific novelty.As for Kryvdin, there was no art criticism in the professional literature. For the first time, the sources that influenced the creative style of the master are highlighted, as well as the spheres of his activity are systematized. Practical significance. With the development of Ukrainian culture in the paradigm of an independent state, the importance of opening the little-known pages of the formation of national design, which gave the foundation of modern art.
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Bu, Yi. "System of Micrographics and the Visual Practice of the “New Wave”: To the Defi nition of the Principles of Contemporary Design." Observatory of Culture 15, no. 3 (August 19, 2018): 290–97. http://dx.doi.org/10.25281/2072-3156-2018-15-3-290-297.
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The paper is devoted to the study of the principles of micrographics in the artistic space and graphic design of the twentieth century. The article describes micrographics as an art phenomenon and considers it as an important element for the fi ne arts and graphics. The text studies principles of micrographic, which can be considered as an important component of the contemporary visual system. At the same time, micrographic elements defi ne the specifi cs of modern design. The article notes that micrographic principles are a common phenomenon in the visual systems throughout the 20th century. In addition, the article gives an attention to the typography and visual practice of the “New Wave” — the most important trend of graphic design in the second half of the 20th century. This phenomenon is considered as the central form of modern design whose specifi cs signifi cantly infl uenced the development of graphic design in general. At the same time, we observe the fact that the micrographic methods were important for the creation of the phenomenon of the “New Wave”. They correlate both: the visual system of the “New Wave” and the graphic program of modern graphic design. The article considers the main forms of micrographics, which were widely used in the system of “New Wave”. The author attempts to determine micrographics, and to give the characteristic of the “New Wave”. Micrographics is explored as a form in contemporary art space and as a system that had a signifi cant influence on the formation and development of the design in the twentieth century.
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Ovchinnikova, Raisa Yu. "GRAPHIC DESIGN PROCESS: CONTEXT OF IMPLEMENTATION." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 185–96. http://dx.doi.org/10.17223/22220836/39/17.
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The article shows that the study of design process as a special activity in graphic design is an art history problem and requires special research methods. It is scientific methodology that makes it pos-sible to achieve reliability in art history knowledge. Attention is drawn to the fact that since the 1960s the methodology of systems theory and activity theory has been a keynote for the development of the design process knowledge in various schools of graphic design. This methodology meets academic criteria and has not lost its value in our days. Based on the principles of this methodology the article analyzes different types of the graphic design process. The objective processes associated with the use of computer technologies in design appear to be the norm and the paradigm of functioning in modern graphic design. Thus, the idea of existence of numerous computer-aided design types is justified. The design objectives of diverse complexity serve here as criteria. On the basis of these objectives traditional, original, and innovative designs are out-lined and comparatively analyzed in the article. It is noted that computer technologies, first, act as an effective tool for the implementation of the forms envisioned by the designer. Second, a computer can be regarded as a creative partner, an agent. Computer technologies possess a unique set of properties and features that open up new opportunities for a creative practice in the field of graphic design. The boundaries of the design practice are changing, and new areas of collective creativity are being estab-lished. In this case the graphic design process is a process that involves efforts of many people. So, individual creativity of professional designers appears to be replaced by the collaboration of interdisci-plinary experts. It is also noted that the growth of computer-aided technologies is too fast for graphic designers to develop a theoretical understanding of them. It results in the duality of assessing the role of methodol-ogy and experience in the graphic design process. On the one hand, the use of design methodology improves efficiency of the design process in comparison with the approach based on experience. On the other hand, there occurs the “extraction” of methodology from the design practice. Research meth-ods of the graphic design process are created under the influence of not only intradisciplinary process-es but also with a view to the messages from other areas of academic knowledge. An example is the use of synergy as a special way of understanding empirical facts accumulated in various fields of aca-demic knowledge. Namely, computer-aided design reveals the non-linearity, a large variety of forms. Herewith, any calculations applied to a huge number of graphic elements change the visual result, creating a new version of the form. It is noted that the use of high-tech computer technologies is quite specific about training designers.
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Shi, ChaoYuan, and Li Gu. "The impact of interdisciplinary dynamic images on public perception." E3S Web of Conferences 236 (2021): 05085. http://dx.doi.org/10.1051/e3sconf/202123605085.
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Dynamic image, usually defined as motion graphics or dynamic graphics, is a kind of image art based on art design and computer science. In a broad sense, dynamic image is a discipline that integrates animation, film, and graphic design. Its expression content is more refined and straightforward than animated movies. It is more comprehensive than graphic design in conveying information. There are more types of dynamic images in the new media era. There are virtual reality technologies that rely on computer science and interactivity, and there are self-media on the Internet. Together with traditional media, they have more and more impact on the public's cognition. The interdisciplinary dynamic image is a visual language based on the dynamic image and interdisciplinary boundaries. It is main feature is to use dynamic images to express the main content of something, event or thought, a moving image made for the purpose of improving the public’s understanding of the corresponding thing, In the interdisciplinary dynamic images, the concreteness and narrative nature of the dynamic images are weakened, and the non-representation and scientific are more emphasized.
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Atasoy, Seda Nur. "The Latest Trends in Graphic Design: Handmade Typographic Posters." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 29, 2017): 335–42. http://dx.doi.org/10.18844/prosoc.v4i11.2892.
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Modern art and design movements such as Art Nouveau, Art Deco and international Typographic Style emerged in Switzerland in the 1950s have been a major influence in the development of modern posters language. Today, this contemporary orientations are being developed and dealt with in a different dimension.Typography in posters is used within the image or the typographic elements themselves coming together and converting into a visual form. The failure of the image of the poster to convey the desired message quickly and dramatically, not to observe the spaces in the use of typographic elements, to pass in front of the image with the color of the font used, lack of simplicity may be mentioned as many problems that can be replicated. However typography is not only the gap between characters, text font and color. It is the conformity of letters with the design applied. It is the art of representing the work with letters. And in this representation designers have made different attempts to find the most accurate and newest and were directed to handmade posters in their search.In this research, basis of the problems of the orientation to the hand-crafted typographic posters which is a different quest spreading rapidly today and reasons pushing the designer to this new quest were examined and in the light of obtained findings, examples of typographic posters in new quests made by designers were presented. Keywords: handmade typography, typographic problem in posters, experimental typography.
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Osadcha, Kateryna, and Victoriia Baluta. "The influence of modern trends in digital art on the content of training in computer graphics and digital design." Ukrainian Journal of Educational Studies and Information Technology 9, no. 1 (March 31, 2021): 1–12. http://dx.doi.org/10.32919/uesit.2021.01.01.
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The development of digital technologies leads to a variety of pictorial arts. With the advent of computer technology and communication technologies, areas such as computer graphics, computer and digital design, and phenomena such as digital art have emerged. The article analyzes these concepts, which provided an opportunity for further study. Based on the analysis of Internet resources on digital art, the following main trends are identified: virtual art, 3D printing, open source software, art of artificial intelligence, a combination of 2D animation and modern technologies, 3D painting, UX / UI design, game design, concept art and character design. Examples of reflection these tendencies in modern art are given. Given the selected trends, it is shown how they affect the content of training in computer graphics and digital design for students of the educational program "Digital Design" (list of compulsory and optional educational components, the content of educational practice). It is noted that to successfully work with computer graphics, students need to master traditional knowledge of pictorial arts (the concept of composition, color, perspective, proportions, shadows) and the ability to use them to create digital products using computer programs (2D graphic editors and 3D graphics) and digital technology (graphics tablet, personal and personal computer, projection equipment, camera, devices for VR and AR reality, scanner and printer, including 3D scanner and 3D printer).
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Sarmast, Shahriar. "An Interview with Morteza Momayez." Design Issues 21, no. 1 (January 2005): 18–23. http://dx.doi.org/10.1162/0747936053103093.
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Design Issues is pleased to publish this interview with Iranian graphic designer Morteza Momayez recently conducted in Tehran by Shahriar Sarmast. Morteza Momayez, Iran's foremost graphic designer, has been active in the field for more than fifty years. When he began his career in the early 1950s, he designed Iranian newspapers and magazines. In the 1960s, he completed a degree in art at the University of Tehran, and did further studies in Paris. Mr. Momayez is the author of numerous books on graphic design in Farsi, and his work was featured by F.H.K. Henrion in his book Top Graphic Design (1983). Shahriar Sarmast is an art director in Tehran, and currently is Secretary of the Iranian Graphic Designers Society. Mr. Sarmast created the cover for the Summer 2002 (XVIII: 3) of Design Issues.
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Huang, Jian Wen. "Research on the Computer Graphic Design and Visual Communication Design." Advanced Materials Research 1055 (November 2014): 342–45. http://dx.doi.org/10.4028/www.scientific.net/amr.1055.342.
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With the development of computer processing software and related technology, modern television, advertising, games, software and commercial activities have made extensive use of computer image processing software for graphic design and visual communication design. The works designed by these means have a strong infection, clear characteristics and it is easy to impress viewers. And the works designed by these means have a high degree of art innovation and also have a positive and profound significance on the creators. This paper analyzed and discussed the computer-based graphic design and visual communication design and their related applications.
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Sher, Alina Andreevna, and Rimma Aleksandrovna Timofeeva. "The works of Alex Steinweiss: design of the music album cover as a new trend in graphic design." Культура и искусство, no. 4 (April 2021): 104–15. http://dx.doi.org/10.7256/2454-0625.2021.4.35373.
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This article is discusses the works of the graphic designer Alex Steinweiss (1917 – 2011), who was involved in music industry of the United States. The author examines the causes and effects of the emergence of a new trend in graphic design, associated with the design of music album covers, as well as analyzed some of the covers invented by Steinweiss in the 1940s. A brief overview is given to the evolution of sound recording media and their packaging. The subject of this research is the art of Alex Steinweiss, while the object is the envelopes for LP vinyl records, invented by the designer during his work for the Columbia Record Label (1930s – 1940s). The relevance of this article is substantiate by the new wave of interest in vinyl records, and thus graphic design in the context of music industry, as well as by the demand to prepare specialists for working in modern music industry. The novelty lies in examination of causal link of the emergence of new trend graphic design on inventing music album covers. The conducted research indicates the influence of a number of socioeconomic factors and activity of Alex Steinweiss upon the emergence of a new trend in graphic design. The author concludes on the relevance of studying the creative path of Alex Steinweiss for the students and representatives of art professions.
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Kolisnyk, O. V., L. V. Ocheretna, M. I. Yakovlev, O. V. Kolosnichenko, K. L. Pashkevich, and O. M. Kretova. "TENDENCIES AND ART TECHNIQUES IN CONTEMPORARY COMIC BOOK GRAPHIC DESIGN." Art and Design, no. 3 (November 13, 2020): 34–45. http://dx.doi.org/10.30857/2617-0272.2020.3.2.
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Purpose. Exploring of the distinctive features of modern comics, their artistic and compositional solutions, types, main trends in American, European and Asian culture. Definition of the original formation of modern Ukrainian comics. Methodology. The basis of the research methodology includes integrated use of historical and comparative methods, system analysis, synthesis, generalization. Results. Basing on the analysis of modern comic book content, the history of comics and its perception by the audience as a modern media text are revealed, characteristics of individual elements in comics are systematized. The specifics of the artistic and compositional system of modern comics, the nature of figurative and stylistic techniques, graphic features of American, European, Asian, Ukrainian comics are determined. Patterns which are inherent in comics as visual narratives of different socio-cultural parts of the world, as well as aspects that shape modern Ukrainian comics, are considered. Scientific novelty. Characteristics of comics as an object of graphic design are determined: features of artistic and compositional design solutions in different regions of the world are systematized; leading trends in the development of specific types of comics in the United States, Europe, Asia and Ukraine are revealed. Practical significance. Based on art analysis of comic book types and by identifying trends in their development within modern art the specifics of the further development of comics are determined and ideas for future creative projects are presented, features that have both artistic and commercial value are indicated.
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Nasyrova, E. F., and M. V. Filatova. "COLLEGE STUDENTS` ART AND DESIGN COMPETENCE AS THE BASIS OF GRAPHIC DESIGN TEACHING." Tomsk state pedagogical university bulletin, no. 5 (2017): 95–98. http://dx.doi.org/10.23951/1609-624x-2017-5-95-98.
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Dundure, Inese, and Diāna Apele. "GRAPHIC DESIGN OPPORTUNITIES FOR INTEGRATED APPROACH IN MUSEUMS IN REPRODUCTION OF ART TREASURES." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 384. http://dx.doi.org/10.17770/sie2018vol1.3375.
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Latest tendencies in museum accessibility, both in the world and in Latvia, show that the social status of museums is changing from a cultural institution for a narrow circle of interested persons to a meeting place open to society, accessible both intellectually and physically to different social groups. The research aim is to study the opportunities for the use of graphic means to disclose and give access to the collection of artistic property of Latgale Culture and History Museum (LCHM) to persons with vision impairment. With the information summarised, the authors invite to use the opportunities of graphic design and technologies in the creation of art reproductions, making the graphic image of the painting perceptible by touch, i.e. tactile, and thus accessible to persons with visual impairment. The novelty of the research on the scale of Latvia will be a supplement of tactile images to the album of the collection of art reproductions of LCHM, which includes tactile graphic images and corresponding descriptions in Braille for persons with vision impairment. At this stage of the research, empirical methods were used – interview and practical activity.The aim of the research: Study and research graphic design opportunities for the integrated approach in museums in the reproduction of existing art property to ensure its accessibility to persons with vision impairment, analyse the needs of the visually impaired in cooperation with societies and organisations in Latvia and design a scheme of practical activities for persons with vision impairment.
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Young, Alan S. "Commercial Art to Graphic Design: The Rise and Decline of Commercial Art in Australia." Journal of Design History 28, no. 3 (July 20, 2015): 219–34. http://dx.doi.org/10.1093/jdh/epv021.
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Golikova, Irina Sergeevna. "International aspect in the history of Russian contemporary graphics: problems of interpretation and identity." Культура и искусство, no. 11 (November 2020): 93–102. http://dx.doi.org/10.7256/2454-0625.2020.11.34375.
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This article analyzes the examples of formal compliance with global trends in Russian print design of the XX – early XXI centuries. The subject of this research is the comparative characteristics of Russian and world practice in the area of contemporary graphic art. In this context, the author highlights the stylistic characteristics of expressionism (1910 – 1920) and neo-expressionism (1960s – 1980s). Comparative analysis allows determining the points of intersection of Russian examples to Western analogues, as well as their originalities outlying the formal criteria. Emphasis is placed on the sources of determination of the uniqueness of graphics as a form of art within the history of Russian art studies. In the course of this research, the author brings the examples of “expressive” graphics in the works of N. N. Kupreyanov and A. I. Kravchenko in relation to printmaking of German expressionism, and some recent examples of Russian graphics (Saint Petersburg artists P. S. Bely, P. M. Shvetsov) in comparison to the graphic experiments of A. Kiefer. The conclusions lie in determination of the unique tradition of Russian realism (V. A. Vetrogonsky and V. I. Shistko), which in the author’s opinion, should be considered the crucial actor in the identity of Russian graphics against the trends leveling national cultural differences of international contemporary art.
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Carmin, James H. "BRADBURY THOMPSON: THE ART OF GRAPHIC DESIGN. Bradbury ThompsonTHE GRAPHIC LANGUAGE OF NEVILLE BRODY. Jon Wozencroft." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 2 (July 1989): 103. http://dx.doi.org/10.1086/adx.8.2.27948066.
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Yegorova, Sofya I., and Andrey M. Savinov. "Development and approbation of models of graphic art training for designers of light industry products." Vestnik of Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics 26, no. 3 (November 30, 2020): 148–53. http://dx.doi.org/10.34216/2073-1426-2020-26-3-148-153.
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Topicality of the study responds to a need of modern Russian light industry for designers capable of developing new, aesthetic, highly artistic products. The problem of aesthetic training of designers of products of light industry can be solved by means of art and graphic disciplines. But to date, a holistic artistic and graphic training of designers corresponding to the specifics of their professional practices has not been proposed. The article presents the theoretical justification for the training of designers of light industry products and the results of its approbation. The main research methods are pedagogic modelling and pedagogic experiment. The model is developed on the basis of reverse design methods and a systematic approach. A costume as an object of design includes technological and artistic-aesthetic aspects, respectively, in the content of the model; a set of exercises has been developed aimed at mastering the techniques of artistic graphics of the costume and the development of figurative thinking, the accumulation of visual experience. The pedagogic experiment showed that the developed model allows improving the quality of artistic and graphic training of designers of light industry products. The results of the study can be applied in the preparation of designers in institutions of higher and secondary vocational education.
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Nazim qızı Quluzadə, Aysel. "Features of Arif Aziz's creativity in modern Azerbaijani art." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 177–80. http://dx.doi.org/10.36719/2663-4619/66/177-180.
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Arif Aziz is one of the invaluable artists of Azerbaijan.Talented master of pencil, full member of the UNESCO’s International Art Academy, goodwill ambassador, prominent man of art, professor Arif Aziz is one of the most famous, well-known persons of the modern Azerbaijan art. He travelled a rich and interesting creative career. Arif Aziz's work is rich and diverse. Decorative is typical for his works. The theme of Absheron occupies a special place in his work. He is engaged in graphics, painting and stage design. The famous artist has had solo exhibitions in many countries around the world. Key words: Absheron, graphic, art, exhibition, national traditions
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Sinfield, David, and Thomas Cochrane. "Augmenting visual design: Designing the changing classroom." E-Learning and Digital Media 17, no. 5 (May 14, 2018): 365–87. http://dx.doi.org/10.1177/2042753018773769.
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Art and design undergraduate educational programmes such as Graphic Design studies are based upon best practice within the Graphic Design industry. Thus, the classroom environment is designed to mirror a typical design studio environment. However, traditional design studio interaction and collaboration are undergoing rapid transformation in practice triggered by an increasingly global digitally networked professional environment. In response, this paper outlines our journey of redesigning an undergraduate graphic design curriculum to enable students to engage beyond the context of the classroom to a potentially global audience. Over two redesign iterations Visual Communication Design students explored new technologies including mobile augmented reality and virtual reality to enhance the reach and impact of their portfolios of work. Using the concept of Visual Poetry and a combination of typography and moving image, the students created a range of art pieces inspired by a specific location, and shared these via an ecology of resources chosen to digitally augment their work and facilitate the production of student eportfolios. The goal of the curriculum redesign is to broaden students’ educational experiences beyond the confines of the traditional studio based classroom to include wider community outreach and participation within an increasingly global environment.
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Riyanti, Menul Teguh. "MODEL DEVELOPMENT OF INSTRUCTIONAL DESIGN COMMERCIAL GRAPHICS-BASED PLANNING PROJECT IN THE FACULTY OF ARTS AND DESIGN TRISAKTI UNIVERSITY." International Journal of Research -GRANTHAALAYAH 5, no. 12 (June 30, 2020): 337–47. http://dx.doi.org/10.29121/granthaalayah.v5.i12.2017.511.
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The purpose of this study was to develop a learning model based Commercial Graphic Design Drafting project-based learning approach, was chosen as a strategy in the learning product development research. University students as the target audience of this model are the students of the fifth semester Visual Communications Design Studies Program Faculty of Art and Design University of Trisakti. Dick, Carey, and Carey models of Research and Development (R and D) are applied to develop this model. The model consists of the systematic phase used to develop learning products Drafting Commercial Graphics. Results of learning products reviewed by expert instructional design, instructional material expert, and instructional media specialist. A series of formative evaluation session - a review and revision process - undertaken in developing this learning product. The result showed that the learning model Drafting Commercial Graphics implemented a project-based approach has been improving learning outcomes better than the target - the students of the fifth semester Visual Communications Design Studies Program Faculty of Art and Design University of Trisakti. The results of the research and development of this model in the category of Good.
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Al-Fawadi, Hutham Mezaal Salih, and Tverdokhlebova Yanina Nikolaevna,. "CONCEPTUAL MODEL OF DIDACTIC SYSTEM OF GRAPHIC-ART PREPARATION FOR FUTURE TEACHERS OF THE FINE ART." journal of the college of basic education 25, no. 105 (December 1, 2019): 1–19. http://dx.doi.org/10.35950/cbej.v25i105.4748.
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The article reveals the essence of the content of the conceptual model of artistic and graphic preparation of future teachers of the fine arts. Based on a review of scientific studies on this issue are marked new conceptual ideas, pedagogical views of scientists on the theory and practice of art education of students in pedagogical universities. Sub-theoretical construct performs scientific and educational potential of art pedagogy and its component - art didactics. Construct model of didactic conditions of artistic and graphic preparation of future teachers of fine arts in the article is viewed as structural and logical system of artistic and educational interaction between teacher and students.
Regarding the nature of cognitive and practical ways of graphic activity of students, the author designed a didactic system that is purposeful on the decision of educational problems of vocational training in the field of graphic arts. Designated article mechanisms of cognitive and creative activity of students in the field of graphic art are due to the basic psycho-pedagogical and didactic regularities of the process of "cognition - teaching – learning - creativity".
A priority area in the contemporary socio-economic, spiritual and cultural development of Ukraine, which is part of the European democratic community, is education. Areas of the state policy in the sphere of education are defined by the Constitution of Ukraine Logical-semantic content of the conceptual model of artistic and graphic preparation of future teachers of fine arts combines multiple components in a designated process expedient didactic design with its methodological features.
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Donaldson, Cathy. "The ‘other’ pictures: stock photography in graphic design libraries." Art Libraries Journal 29, no. 3 (2004): 32–36. http://dx.doi.org/10.1017/s0307472200019040.
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Student graphic designers want fast, easy and cheap access to high-resolution images. As well as using the image-rich art books in their libraries, these students can now use stock photography: those images of cute children, attractive couples, active seniors, funky pets, and preternaturally fresh fruit, plants and flowers that are used to communicate, influence, and sell something, somewhere, to someone.
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Wu, Yan. "Application of AutoCAD in Graphic Art Design based on VBA Language." Computer-Aided Design and Applications 18, S1 (May 7, 2020): 75–86. http://dx.doi.org/10.14733/cadaps.2021.s1.75-86.
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Vacharopoulou, Kalliopi, David Penfold, Rick Cordell, Lindsay MacDonald, and Pandora Mather-Lees. "The Use of Art and Design Images in Graphic Design Courses in Higher Education." Art Documentation: Journal of the Art Libraries Society of North America 28, no. 2 (October 2009): 40–46. http://dx.doi.org/10.1086/adx.28.2.27949521.
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Vlajo, Koraljka. "Designing a Socialist Man." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 15. http://dx.doi.org/10.25038/am.v0i19.314.
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This paper asserts that graphic design can be analyzed as a performative act, particularly in relation to political performativity, a term coined by Reuben Rose-Redwood and Michael R. Glass after Judith Butler’s theory of performativity. Graphic design as a mass media tool enables persistent and everyday reiteration of regime authority, thus enforcing the construction of preferable identities of ideal citizens. In the text, the scope of political performativity of graphic design as an example of socialist Yugoslavia is analyzed, based on the cultural theory and the theory of political performativity, and by using examples of poster, magazine and catalogue cover designs created for political and cultural events in Socialist Federal Republic of Yugoslavia (SFRY) from the 1940s to the 1980s. It will be shown how graphic design has had an impact in shaping and reshaping the image of Yugoslav citizens through an everyday representation of men, women and youth in order to consistently reassert the dominant state/regime narrative. At the same time, it will be shown that graphic design, even when used within that narrative, is a powerful tool for subverting the regime’s authority and challenging the perceived ideal thus helping shape new identities.Article received: April 29, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019; Original scholarly paperHow to cite this article: Vlajo, Koraljka. "Designing a Socialist Man." AM Journal of Art and Media Studies 19 (2019): 15-27. doi: 10.25038/am.v0i19.314
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Zhang, Xin Ke. "Innovative Application of Chinese Traditional Modeling Elements to Design of Modern Home Textile Products." Advanced Materials Research 308-310 (August 2011): 419–23. http://dx.doi.org/10.4028/www.scientific.net/amr.308-310.419.
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Based on the styling elements of Chinese imperial costume，the characteristics and cultural connotation of blue and white porcelain in the dynasty of Yuan, Ming and Qing and auspicious patterns among the people as well as the traditional paper-cutting art. The paper analyzes the traditional colors and graphic elements by the decomposed and reconstructed of modern graphic designing method, expounds and demonstrates the innovative application of traditional colors and graphic elements in modern home textile design, and then further realizes the Chinese artistic style of home textile design.
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Li, Ying. "A Study of Space Environmental Decoration in Ceremony Etiquette." Applied Mechanics and Materials 584-586 (July 2014): 738–41. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.738.
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The same with other art branches, the design of environmental decoration in ceremony etiquette belongs to practical art. It is the space-time art of three-dimensional even multi-dimensional space, not the simple graphic art. It is the combination of multi-dimensional space and visual art. On the study of environmental decoration in modern ceremony etiquette, the paper provides the scientific guidance for the feasibility and operability in practical design from the viewpoint of ceremony etiquette environmental decoration and traditional folk culture, environmental accessory design, environmental color design, situational design and installation art design.
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Terziev, Georgi. "POSTER ART AND THE INNOVATIVE PRACTICES IN ART PEDAGOGY." Education and Technologies Journal 11, no. 1 (August 1, 2020): 149–53. http://dx.doi.org/10.26883/2010.201.2245.
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The presented research highlights the innovative charge in the poster tasks as an essential part of the educational work in fine arts. With its essence of an artistic-aesthetic phenomenon with a strong public resonance, the poster focuses on the communicative functions of graphic design. It is in its field that students can express their attitude to all current problems of the present day. Modern technologies allow quick contact with the top achievements in poster art. The digital methods for polygraphic realization allow for the expeditious circulation of the students’ poster works and their introduction in the public environment. In the space of these pictorial tasks the art pedagogue creates preconditions for the teenagers to be more empathetic, more active and creative in their striving to join noble causes. This graphic genre would transform the negative impulses of society into a creative effort, which forms the self-confidence of students that from an object of multifaceted aggressive social influences they become a subject with an active position. The idea is that poster tasks are a reliable means of overcoming the inertia of layered methodological stereotypes.