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Relevant bibliographies by topics / Design for Graphic Communication ; Graphic Design

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Academic literature on the topic 'Design for Graphic Communication ; Graphic Design'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Design for Graphic Communication ; Graphic Design"

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Huang, Jian Wen. "Character Pattern Design to Achieve Digital Media." Advanced Materials Research 1055 (November 2014): 346–49. http://dx.doi.org/10.4028/www.scientific.net/amr.1055.346.

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Character graphic design objectives and principles of digital media completed the implementation of the concept embodied in the visual design of the series. In this paper, the Character in the implementation of digital media graphic design, visual communication line to get through basic and applied to distinguish among the barriers. Character graphics digital media visual resource selection and integration will be the first graphic visual objects, followed by the use of Character graphics source element deconstruction, beaten, restructuring plan, the formation of "Ba Feier" international dance education institutions Character graphics program, the program design process adjust the original design symbol around each of the following important node, expand the design imagination, linking the core elements of the design work is completed.

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Banchero, Paola. "Graphic design and religion." Journal of Media and Religion 9, no. 3 (July 30, 2010): 176–78. http://dx.doi.org/10.1080/15348423.2010.500978.

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Rojas-Sola, José Ignacio. "Advances in Engineering Graphics: Improvements and New Proposals." Symmetry 13, no. 5 (May 8, 2021): 827. http://dx.doi.org/10.3390/sym13050827.

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The study of graphic communication techniques that engineers, architects, and designers use to express ideas and concepts, or the graphic expression applied to the design process, is becoming increasingly important. The correct interpretation of graphic language allows the development of skills in the training of an engineer or architect. For this reason, research on this topic is especially valuable in finding improvements or new proposals that help toward a better understanding of those techniques. This Special Issue shows the reader some examples of different disciplines available, such as engineering graphics, industrial design, geometric modeling, computer-aided design, descriptive geometry, architectural graphics and computer animation.

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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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Ouyang, Chao Ying, and Feng Liu. "The Typeface Details Design in Graphic Visual Communication Engineering." Applied Mechanics and Materials 170-173 (May 2012): 3296–99. http://dx.doi.org/10.4028/www.scientific.net/amm.170-173.3296.

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This article describes the concept of the details in typeface design,the details in typeface design’ s effection in transmission power in graphic visual communication engineering. By the analysis of the graphic visual communication engineering examples,it has searched the use of the details in typeface design in graphic visual communication engineering design and the effection of the graphic visual communication engineering information’s transmission,and it also propose how to effectively use typeface design to improve the graphic visual communication engineering aesthetic content and effective communication of messages in graphic visual communication engineering,and reach to the ultimate goal in the last.

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Zaripova, Liliya Renatovna, Iskander Zinnurovich Rauzeev, Andrei Mikhailovich Siluyanichev, and Imash Adyshirin Gadzhiev. "Development of visual communications in graphic design." Laplage em Revista 6, Extra-B (December 24, 2020): 112–16. http://dx.doi.org/10.24115/s2446-622020206extra-b600p.106-110.

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The role of the existence of graphic design as one of the most important ways of conveyance of visual communication in modern society is determined. Visual communications are considered as a process of the need to study the totality of problems, especially those connected with the interaction of the “person – environment” system, meant for conveying visual information. The paper supports the statement that visual communications should be considered as a visual language, by using, it is possible to significantly diversify communicated information in society. The article identifies three types of communication: visual, audiovisual (the image is accompanied by sound content) and animated (a static image becomes dynamic, accompanied by sound). It is concluded that the development of visual communications will help improve the quality of perception of information, which is often associated with a flawlessly elaborated graphic design. The brand creation methods as one of the most important factors in the development of visual communications today in modern society are considered and described in detail.

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Zaripova, Liliya Renatovna, Iskander Zinnurovich Rauzeev, Andrei Mikhailovich Siluyanichev, and Imash Adyshirin Gadzhiev. "Development of visual communications in graphic design." Laplage em Revista 6, Extra-B (December 24, 2020): 112–16. http://dx.doi.org/10.24115/s2446-622020206extra-b600p.112-116.

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The role of the existence of graphic design as one of the most important ways of conveyance of visual communication in modern society is determined. Visual communications are considered as a process of the need to study the totality of problems, especially those connected with the interaction of the “person – environment” system, meant for conveying visual information. The paper supports the statement that visual communications should be considered as a visual language, by using, it is possible to significantly diversify communicated information in society. The article identifies three types of communication: visual, audiovisual (the image is accompanied by sound content) and animated (a static image becomes dynamic, accompanied by sound). It is concluded that the development of visual communications will help improve the quality of perception of information, which is often associated with a flawlessly elaborated graphic design. The brand creation methods as one of the most important factors in the development of visual communications today in modern society are considered and described in detail.

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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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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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Bowen, Peng, and Li Hua. "Analysis of Computer Graphic Image Design and Visual Communication Design." Journal of Physics: Conference Series 1827, no. 1 (March 1, 2021): 012141. http://dx.doi.org/10.1088/1742-6596/1827/1/012141.

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Dissertations / Theses on the topic "Design for Graphic Communication ; Graphic Design"

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Corbo-Hudak, Neva. "User considerations in graphic design /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1111.

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Owens, Sarah Teresa. "Design is ordinary : lay graphic communication and its relation to professional graphic design practice." Thesis, University of Reading, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.655747.

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Gaydos, Benjamin. "[ethno]graphic design." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/98.

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Visual communication is a part of everyone's daily existence. It is a ubiquitous mode that shapes not only the environment that individuals inhabit, but the very identity of the individual. Graphic designers, who create the vast majority of the visual communication encountered, play a crucial role in the production of cultural identity. It is a necessity that designers understand that role, as agents of cultural production.[ethno]graphic design is an ever-evolving approach to graphic design which utilizes anthropological methods in the creative process. This document presents a collection of projects which take an anthropological approach to the design process, utilizing techniques developed by cultural anthropologists to aid the design process primarily ethnographic fieldwork, participant observation, collaboration, multivocal representation and reflexivity.

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Jägerholm, Petra, and Lovisa Rönngren. "Anti-aesthetics in graphic design." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130012.

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Syftet med denna studie är att diskutera och problematisera anti-estetisk design och undersöka vilken funktion den har idag. Denna uppsats bygger på en bred bakgrund om fulhet och skönhet, om olika anti-estetiska och kritiska rörelser genom historien och teorier så som kritisk design, normkritik och feminism. Information har insamlats genom en kritisk granskning av tre nummer av tidskriften Bang, analys av offentliga uttalanden om och av Bang och Bastion, samt intervjuer med formgivaren Sepidar Hosseini och tio designstudenter. Metoden kvalitativ ansats användes i studien och induktiv samt deduktiv analys av intervjuerna utfördes. I analysen undersöktes hur avvikande designelement kunde bidra till att kritisera normen med hjälp av etablerade teorier, uttalanden från Bastion och kommentarer från Hosseini och designstudenter. Resultatet av denna studie skall visa på ett alternativt perspektiv på design och diskutera vilken tillämpning den kan ha idag. Anti-estetisk design kan anses ha funktionen att skapa rum för det som inte passar in i det rådande idealet och fungera som grogrund för vidare diskussion om samhällets normer.

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Dhawi, Fahad A. "Redesigning Arabic learning books : an exploration of the role of graphic communication and typography as visual pedagogic tools in Arabic-Latin bilingual design." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13472/.

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What are ‘educational typefaces’ and why are they needed today? Do Arabic beginners need special typefaces that can simplify learning further? If so, what features should they have? Research findings on the complexity of learning Arabic confirm that the majority of language textbooks and pedagogic materials lead to challenging learning environments due to the poor quality of book design, text-heavy content and the restricted amount of visuals used. The complexity of the data and insufficient design quality of the learning materials reviewed in this practice-based research demand serious thought toward simplification, involving experts in the fields of graphic communication, learning and typeface design. The study offers solutions to some of the problems that arise in the course of designing language-learning books by reviewing selected English learning and information design books and methods of guidance for developing uniform learning material for basic Arabic. Key findings from this study confirm the significant role of Arabic designers and educators in the production of efficient and effective learning materials. Their role involves working closely with Arabic instructors, mastering good language skills and being aware of the knowledge available. Also, selecting legible typefaces with distinct design characteristics to help fulfil various objectives of the learning unit. This study raises awareness of the need for typefaces that can attract people to learn Arabic more easily within a globalized world. The absence of such typefaces led to the exploration of simplified twentieth-century Arabic typefaces that share a similar idea of facilitating reading and writing, and resolving script and language complexity issues. This study traces their historical context and studies their functional, technical and aesthetic features to incorporate their thinking and reassign them as learning tools within the right context. The final outcome is the construction of an experimental bilingual Arabic-English language book series for Arab and non-Arab adult beginners. The learning tools used to create the book series were tested through workshops in Kuwait and London to measure their level of simplification and accessibility. They have confirmed both accessibility and incompatibility within different areas of the learning material of the books and helped improve the final outcome of the practice. The tools have established the significant role of educational typefaces, bilingual and graphic communication within visual Arabic learning.

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Malinoski, John Banton. "Graphic design archive on videodisc marketing and communication programs /." Online version of thesis, 1986. http://hdl.handle.net/1850/8749.

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Pontis, Sheila Victoria. "Guidelines for conceptual design to assist diagram creators in information design practice." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5684/.

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Today’s society is characterised by the production of massive amounts of information— freely transferred—and instant access to knowledge. This current overproduction of data is translated into complex diagrams to enhance the clarity. Nevertheless, it is commonplace in information design practice to find diagrams that are not communicating the intended messages. The act of conceiving the diagram takes place during conceptual design. This can be where misleading analysis and superfluous information organisation actions may lead to ill-conceived conceptual design, and therefore to ill-conceived diagrams, i.e. overloaded, unintelligible and disorganised. Existing tools for conceptual design of diagram creation do not properly meet design practitioners’ needs in that they tend to be excessively time-consuming to implement. This indicates a need for the exploration of new design methods focused specifically on the conceptual design stage of the process of designing diagrams. This practice-led thesis presents one such possible design method, i.e. MapCI Cards, aimed at guiding experienced graphic and information design practitioners in the preparation of complex diagrams. MapCI Cards presents a collection of guidelines that make use of prompts and questions, in order to assist the conceptual design stage of diagram creation. The use of the proposed design method does not guarantee the production of outstanding outputs. The purpose of MapCI Cards is not to create aesthetic design; rather, it is to increase an understanding through guided content analysis and organisation of the information to be conveyed. Lists, draft diagrams, mind-maps and sketches are some of the possible resulting outputs of using the MapCI Cards. In short, the cards assist the development of the conceptual idea of the potential final diagram that will be developed in the prototype design stage. The first stage of this research investigates how complex diagrams organise information, using the London Underground diagram as a case study. Analytical relational surveys are used to explore diagram creators’ decision-making processes. Sets of studies of diagram structures (Walker, 1979a; Tufte, 1983), design processes (Wurman, 1989; Jones, 1992) and information organisation (Wurman, 2001; Shedroff, 2003; Roam, 2008) are examined and combined. After this, the data collected are analysed using qualitative visual methods, and rearranged to develop the content in MapCI Cards. Two pilot workshops are designed as the revising and optimising methods. Then, five self-documentation cases drawn from practising information designers in the UK are conducted to test MapCI Cards within professional practice. The performance of the proposed guided approach to conceptual design is measured through an interpretation model, and key informants’ insights are used to delimit its conditions and limitations.

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Kenna, Hilary. "A practice-led study of design principles for screen typography : with reference to the teachings of Emil Ruder." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6051/.

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This research proposes that traditional typographic knowledge does not sufficiently address the design aspects specific to screen typography such as 3D space, motion, time, sound and interactivity, and that traditional design principles require adaptation and expansion for screen. This practice-led study presents a broad critical review of the emergent field of screen typography spanning screen media technologies, traditional typographic knowledge and contemporary practice. Its findings contribute a definition of the field of practice including an overview of the history, origins and properties of screen typography, a classification of practice areas, and key practical principles used in related screen-native disciplines such as film-making, animation and human computer interaction design. Due to the rapidly changing technological environment of the screen, obsolescence is a key concern for this research and highlights the need for sustainable typographic design methodologies not aligned to specific technology. In this context, and following a literature review of traditional design principles, the work of Emil Ruder (1914-‐1970), a Swiss modernist typographer was identified as distinguishable in the field and particularly relevant to screen typography because of his holistic design approach underpinned by conceptual principles and systematic practical methods. This thesis provides a detailed analysis of Ruder’s methods set out in his book Typographie: a manual for design (1967) and uses the findings to develop an experimental practice methodology for screen typography. The developed methodology sets out a matrix of the constituent parts of typographic design practice that include: typographic elements, typographic properties, and design principles, which can be combined to create practical exercises in screen typography. The practice matrix was evaluated through peer review, then tested and applied in practice to the design of a series of experimental practical samples and online repository type4screen, and to an iPad app of T.S. Eliot’s 1922 poem, The Waste Land.

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Ali, Hena. "Graphic communication design practice for sustainable social advocacy in Pakistan : co-developing contextually responsive communication design (GCD) methodologies in culturally diverse contexts." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8747/.

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Communication design, as a significant tool for sustainable social advocacy, is still under-explored both academically and within creative practices worldwide. In a developing country like Pakistan, the role of social advocacy as an effective tool for social change is ambiguous. This practice-led research aims to redress this imbalance by exploring the development of graphic communication design approaches (GCDs) for social advocacy, in response to a low Pakistani literacy context. The investigation presents a contextually responsive GCD model for design development (Fig3a: 13), as a critical design framework, for synthesising graphic languages in Pakistan. This is presented as an alternative non-traditional communication approach, in response to contextual constraints (socio- cultural, literacy levels and/or available resources) in Rawalpindi, Pakistan. The practice asserts contextually driven communication design approaches for sustainability, and it also contests the effectiveness of universal design approaches in culturally diverse contexts. Using a case study approach, a semiotic analysis of three forms of Pakistani graphic media, namely Lollywood billboards, Pakistani truck art and political campaign posters, is undertaken. As a mapping stage, this explores the development of vernacular communication systems and visual codes to advance effective graphic languages in Pakistan, while a simultaneous review of the literature and practice supports the case studies. However, the analysis relies primarily on a pilot study, contextual interviews and collaborative design projects, with Pakistani truck and billboard artists, to identify critical graphic frameworks operative in the Pakistani visual context. This leads ultimately to the final participatory design-led synthesis stage, which co-designs social advocacy interventions in the low- income community of Dhok Chaudrian, Rawalpindi. The interventions address the major issue of open garbage dumps, and the co-design approach highlights the significance of communication design practice evolving as a sustainable social engagement tool in response to a specific issue in a specific context. This thesis is organised in four major sections. Chapter One introduces the research aims, structure and organisation of the thesis. Chapter Two reviews the context and identifies gaps in graphic communication design theory and practice in a social context, before it grounds the research in the Pakistani context. Chapter Three maps the Pakistani visual vernacular through a case study analysis, a pilot study and three collaborative design projects in the cities of Lahore and Rawalpindi. This establishes critical communication design frameworks as a rhetorical design framework (pg. 88) and contextual GCD principles (pg.77) in Pakistan, which are then tested in the proceeding final synthesis stage. Chapter Four entails the design synthesis, which involves testing and evaluating previously developed critical frameworks through co-design sessions in the Dhok Chaudrian community, Rawalpindi. This chapter focuses specifically on community participation as a tool to inform the development of effective graphic languages for design sustainability. Co-design sessions, as an interaction prototype, are evaluated for short-term impacts in terms of engagement, with custom- designed communication tools for a low-literacy target audience. As for resources, this research draws on contextual interviews, collaborative design projects, contextual observations and design evaluations, all of which are supported by published material. The research-led design process is systematically documented as design taxonomy, to be valued as a transferable model of communication design practice. Organisations, artists and designers, with similar research or practical ambitions, can take away the underpinning principles from this research practice and locate them within their own respective practices.

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Jackson, Lance Douglas Smith Jon M. 1959. "Introduction to the Internet and Web page design." [Cedar City, Utah : Southern Utah University], 2009. http://unicorn.li.suu.edu/ScholarArchive/Communication/JacksonLanceD/IntrototheInternet&WebPageDesign.pdf.

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Thesis (M.S.)--Southern Utah University, 2009.
A workbook CD accompanies this text. For more information contact the author, Lance Jackson, Southern Utah University, 351 W. University Blvd., Cedar city, UT 84720. E-mail: jackson@suu.edu. Telephone: (435) 586-7867. Title from PDF title page. "April 2009." "In partial fulfillment of the requirements for the degree [of] Master of Arts in Professional Communication." "A project presented to the faculty of the Communication Department at Southern Utah University." Dr. Jon Smith, Project Supervisor. Includes bibliographical references (p. 14, 33, 49, 69, 85, 104, 135, 155, 174).

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Books on the topic "Design for Graphic Communication ; Graphic Design"

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Design & graphic communication. Tonbridge): Hands on Publishing, 1998.

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Caldwell, Raymond. Graphic communication. Tonbridge: Hands On Publishing, 1997.

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Graphic design as communication. New York: Routledge, 2005.

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M, Johnson Cindy, ed. Engineering design communication: Conveying design through graphics. 2nd ed. Boston: Prentice Hall, 2011.

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M, Johnson Cindy, ed. Engineering design communication: Conveying design through graphics. Upper Saddle River, NJ: Prentice Hall, 2000.

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B, Meggs Philip, and Day Ben, eds. Typographic design: Form and communication. 5th ed. Hoboken, N.J: John Wiley & Sons, 2011.

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Notes on graphic design and visual communication. Los Altos, Calif: Crisp Publications, 1990.

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Greenwald, Martin L. Graphic communications: Design through production. Albany, N.Y: Delmar Publishers, 1997.

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From line to design: Design graphics communication. 3rd ed. New York: Van Nostrand Reinhold, 1990.

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From line to design: Design graphics communication. 2nd ed. Mesa, Ariz: PDA Publishers Corp., 1985.

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Book chapters on the topic "Design for Graphic Communication ; Graphic Design"

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Butragueño Díaz-Guerra, Belén, Mariasun Salgado de la Rosa, and Javier Francisco Raposo Grau. "Information Design: Communication-Design-Record." In Graphic Imprints, 264–73. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93749-6_22.

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Yarwood, A. "Design in Graphic Communication." In Work Out Graphic Communication GCSE, 171–83. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-10242-6_12.

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Robertson, Margaret. "Graphic Design 101." In Communicating Sustainability, 95–109. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315659015-9.

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Liu, Yanxing, Yusheng Lian, Yang Jin, Xiaojie Hu, and Zhuangzhuang Xiong. "Design and Development of Network Printing Exhibition." In Advances in Graphic Communication, Printing and Packaging, 390–95. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_53.

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Beriswill, Joanne Elizabeth. "Professional Graphic Designers Approaching Visual Interface Design." In Communications in Computer and Information Science, 3–7. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22098-2_1.

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Ramos, Igor, and Helena Barbosa. "Designing for Cinema Trindade: Graphic Communication in Contemporary Portuguese Cinemas." In Springer Series in Design and Innovation, 17–33. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49647-0_2.

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Xie, Xinhui, Zhanjun Si, and Shan Zhang. "Design and Making of Sudoku Game Based on Unity3D." In Advances in Graphic Communication, Printing and Packaging, 410–15. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_56.

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Zhou, JieLan. "In Graphic Design - Design and Thinking from Plane to Screen." In Lecture Notes on Data Engineering and Communications Technologies, 760–66. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5857-0_97.

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Huo, Yuke, Wenjie Yang, Peipei Ran, Chunli Guo, Yanxing Liu, Ge Yang, and Shaozhong Cao. "Design and Implementation of Salary Management System for Printing Enterprises." In Advances in Graphic Communication, Printing and Packaging, 396–402. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_54.

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Ran, Peipei, Wenjie Yang, Yuke Huo, Zhongyue Da, and Shaozhong Cao. "Design of Instant Messaging Software in Printing Enterprise Based on Web." In Advances in Graphic Communication, Printing and Packaging, 403–9. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_55.

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Conference papers on the topic "Design for Graphic Communication ; Graphic Design"

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Novikova, Marina Mikhailovna. "Type Graphics in Commercial Advertising Design: Graphic and Stylistic Interpretations." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-541229.

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Harland, Robert, Kelly Veronica, Karel van der Waarde, and Eamon Spelman. "Divergence and convergence in graphic design and communication design." In Design Research Society Conference 2018. Design Research Society, 2018. http://dx.doi.org/10.21606/drs.2018.771.

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Ahtik, Jure, and Tanja Nuša Kočevar. "A NOVEL APPROACH TO GRAPHIC COMMUNICATION EDUCATION." In 9th International Symposium on Graphic Engineering and Design. Faculty of Technical Sciences, 2018. http://dx.doi.org/10.24867/grid-2018-p45.

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Xue, Yang. "Analysis of Computer Graphic Image Design and Visual Communication Design." In 2020 5th International Conference on Mechanical, Control and Computer Engineering (ICMCCE). IEEE, 2020. http://dx.doi.org/10.1109/icmcce51767.2020.00528.

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Wang, Lanzhen. "Symbolic Expression and Application in Graphic Design." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.89.

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Borba, Marina R., Hans N. Waechter, and Vicentina R. Borba. "Contributions of Graphic Design for Effective Communication in the Health Campaigns." In 7th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2015. http://dx.doi.org/10.5151/designpro-cidi2015-cidi_86.

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Shi, Xueqing. "Research on Graphic Symbol Expression in Visual Communication Design." In 2015 4th National Conference on Electrical, Electronics and Computer Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/nceece-15.2016.87.

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Liu, Jianghui, and Handun Xiang. "Spatial Dimensional Shift in Graphic Design and Visual Communication." In 2018 International Conference on Social Science and Education Reform (ICSSER 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icsser-18.2018.88.

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Wang, Wei, and Yuhui Feng. "Design of Cross-culture Business Graphic Symbol Communication Application." In 3rd International Symposium on Asian B&R Conference on International Business Cooperation (ISBCD 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/isbcd-18.2018.28.

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Asrizal Razali, Mohd, Noranis Ismail, and Nurzihan Hassim. "Immersive intercultural experience for graphic communication studies through virtual reality." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p59.

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At Taylor’s University, Intercultural Design is a project-based module where students are exposed to different cultures of foreign countries and are required to understand the role of design in a wide cultural, political and social context. Through this experience in addition to reflective practice, conceptualizing of ideas and active experimentations, the participating graphic communication students interpret their immersion of culture subjectively and present a piece that communicates the said cultural elements to intended audiences. The present COVID-19 international travel restrictions had disrupted this knowledge acquisition process and posed limits of onsite exploration, engagement with foreign agencies and face-to-face interactions with communities and cultures. However, previous studies had posited the potential of utilizing similar approaches via virtual space, place metaphors and avatar-environment interaction. Henceforth, this paper explored Virtual Reality (VR) technology that replicated environments of foreign destinations and allowed students to map information from this perspective in order to produce a graphic design-based output. This paper intended to further examine the effectiveness of VR by comparing information and feedback of; 1)participating students who had firsthand experience of foreign environment, and 2) students who only have second hand experience via VR. This paper also proposed the suitable selection of VR tools based on cost, accessibility, technological requirements and immersion satisfaction via online learning. The results achieved during the analysis is pertinent to endorse the intention towards the use of VR tools for online collaborative and student-centered learning experience for this module.

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Reports on the topic "Design for Graphic Communication ; Graphic Design"

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Casner, Stephen, and Jill H. Larkin. Cognitive Efficiency Considerations for Good Graphic Design. Fort Belvoir, VA: Defense Technical Information Center, January 1989. http://dx.doi.org/10.21236/ada218976.

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Berry, Nina. Anticommercial Purposes: New Methods in Graphic Design and Radical Environmental Change. Portland State University Library, January 2016. http://dx.doi.org/10.15760/honors.287.

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Murphy, Joe J., Michael A. Duprey, Robert F. Chew, Paul P. Biemer, Kathleen Mullan Harris, and Carolyn Tucker Halpern. Interactive Visualization to Facilitate Monitoring Longitudinal Survey Data and Paradata. RTI Press, May 2019. http://dx.doi.org/10.3768/rtipress.2019.op.0061.1905.

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Surveys often require monitoring during data collection to ensure progress in meeting goals or to evaluate the interim results of an embedded experiment. Under complex designs, the amount of data available to monitor may be overwhelming and the production of reports and charts can be costly and time consuming. This is especially true in the case of longitudinal surveys, where data may originate from multiple waves. Other such complex scenarios include adaptive and responsive designs, which were developed to act on the results of such monitoring to implement prespecified options or alternatives in protocols. This paper discusses the development of an interactive web-based data visualization tool, the Adaptive Total Design (ATD) Dashboard, which we designed to provide a wide array of survey staff with the information needed to monitor data collection daily. The dashboard was built using the R programming language and Shiny framework and provides users with a wide range of functionality to quickly assess trends. We present the structure of the data used to populate the dashboard, its design, and the process for hosting it on the web. Furthermore, we provide guidance on graphic design, data taxonomy, and software decisions that can help guide others in the process of developing their own data collection monitoring systems. To illustrate the benefits of the dashboard, we present examples from the National Longitudinal Study of Adolescent to Adult Health (Add Health). We also discuss features of the dashboard to be developed for future waves of Add Health.

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Wells, Aaron, Tracy Christopherson, Gerald Frost, Matthew Macander, Susan Ives, Robert McNown, and Erin Johnson. Ecological land survey and soils inventory for Katmai National Park and Preserve, 2016–2017. National Park Service, September 2021. http://dx.doi.org/10.36967/nrr-2287466.

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This study was conducted to inventory, classify, and map soils and vegetation within the ecosystems of Katmai National Park and Preserve (KATM) using an ecological land survey (ELS) approach. The ecosystem classes identified in the ELS effort were mapped across the park, using an archive of Geo-graphic Information System (GIS) and Remote Sensing (RS) datasets pertaining to land cover, topography, surficial geology, and glacial history. The description and mapping of the landform-vegetation-soil relationships identified in the ELS work provides tools to support the design and implementation of future field- and RS-based studies, facilitates further analysis and contextualization of existing data, and will help inform natural resource management decisions. We collected information on the geomorphic, topographic, hydrologic, pedologic, and vegetation characteristics of ecosystems using a dataset of 724 field plots, of which 407 were sampled by ABR, Inc.—Environmental Research and Services (ABR) staff in 2016–2017, and 317 were from existing, ancillary datasets. ABR field plots were located along transects that were selected using a gradient-direct sampling scheme (Austin and Heligers 1989) to collect data for the range of ecological conditions present within KATM, and to provide the data needed to interpret ecosystem and soils development. The field plot dataset encompassed all of the major environmental gradients and landscape histories present in KATM. Individual state-factors (e.g., soil pH, slope aspect) and other ecosystem components (e.g., geomorphic unit, vegetation species composition and structure) were measured or categorized using standard classification systems developed for Alaska. We described and analyzed the hierarchical relationships among the ecosystem components to classify 92 Plot Ecotypes (local-scale ecosystems) that best partitioned the variation in soils, vegetation, and disturbance properties observed at the field plots. From the 92 Plot Ecotypes, we developed classifications of Map Ecotypes and Disturbance Landscapes that could be mapped across the park. Additionally, using an existing surficial geology map for KATM, we developed a map of Generalized Soil Texture by aggregating similar surficial geology classes into a reduced set of classes representing the predominant soil textures in each. We then intersected the Ecotype map with the General-ized Soil Texture Map in a GIS and aggregated combinations of Map Ecotypes with similar soils to derive and map Soil Landscapes and Soil Great Groups. The classification of Great Groups captures information on the soil as a whole, as opposed to the subgroup classification which focuses on the properties of specific horizons (Soil Survey Staff 1999). Of the 724 plots included in the Ecotype analysis, sufficient soils data for classifying soil subgroups was available for 467 plots. Soils from 8 orders of soil taxonomy were encountered during the field sampling: Alfisols (<1% of the mapped area), Andisols (3%), Entisols (45%), Gelisols (<1%), Histosols (12%), Inceptisols (22%), Mollisols (<1%), and Spodosols (16%). Within these 8 Soil Orders, field plots corresponded to a total of 74 Soil Subgroups, the most common of which were Typic Cryaquents, Typic Cryorthents, Histic Cryaquepts, Vitrandic Cryorthents, and Typic Cryofluvents.

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