Journal articles: '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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Eshun, E. F., P. Korwu, and E. Appiah. "Peer assessment in graphic design studio: Communication design students' perspectives." Journal of Science and Technology (Ghana) 37, no. 1 (February 12, 2018): 64–74. http://dx.doi.org/10.4314/just.v37i1.6.

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Large class-sizes have become a common feature in almost all higher education institutions in developing countries. Consequently, educators have to implement innovative pedagogies and assessment practices to deal with the current challenges in education delivery at that level. The purpose of this study was to examine students’ perceptions of their attitudes during peer assessment practice in graphic design studio in higher education. The study was conducted with 94 students at the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana. The results showed that the students had a positive experience and perception of the peer assessment process. They also held positive views of the task worth of peer-assessment just like their perception of peer-assessment as an aid to learning. The results revealed that peer learning and objectivity are significantly related to task worth. The findings of this study have confirmed the advantages associated with the use of peer-assessment in higher education instead of a teacher centered approach and reaffirmed the existing unequivocal views held by similar studies.Keywords: Peer assessment; students’ perceptions; studio pedagogy; graphic design

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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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Lzicar, Robert. "Swiss Graphic Design: A British Invention?" Design Issues 37, no. 1 (January 2021): 51–63. http://dx.doi.org/10.1162/desi_a_00624.

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The role of British graphic designers and authors in spreading Swiss Style, “Swiss graphic design,” or “Swiss typography” internationally is evident, but less is known about the process and effects of transnational exchange in design. This article follows the trajectories of objects and texts, revealing how they have established and disseminated the labels in Britain and abroad, thus contributing to our current understanding of “Swiss graphic design.” It concludes with an example of alternative historiography of modern visual communication as a constant process of exchange that reveals the complex international interaction of design discourses.

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Li, Xigen. "Web Page Design and Graphic Use of three U.S. Newspapers." Journalism & Mass Communication Quarterly 75, no. 2 (June 1998): 353–65. http://dx.doi.org/10.1177/107769909807500210.

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A content analysis of three U.S. Internet newspapers has found that Internet newspapers gave more priority to providing textual information than graphic information, and large graphics were more likely to appear on homepages than on frontpages and news article pages. The news links and the multiple communication channels adopted by Internet newspapers in web page design created a new environment of communication, involving more than host newspaper and initial audience. With interconnected links, the traditional one-to-many newspaper publishing process turned into many-to-many communication centered with and facilitated by the host Internet newspapers. The interconnected news links brought in audience participation in producing newspaper content and providing information beyond the original newspaper content, which demonstrates a shift of balance of communicative power from sender to receiver.

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Eggink, Harry A. "“Public Participatory Graphic Communications”." SHS Web of Conferences 64 (2019): 02012. http://dx.doi.org/10.1051/shsconf/20196402012.

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Ball State University is a public university in the state of Indiana which has a College of Architecture and Planning; its Community Based Program (CBP) was developed and created in 1969, and is now one of the three oldest continuous community education and service programs in the US. The program’s main objectives are to provide an educational design service to the public sector, to immerse our students in a public participatory urban design environment, and to educate the public sector to become active in the design and planning process of their communities. After my Urban Design Graduate studies at Harvard, I published two urban design booklets (the Urban Design Primer and the Urban Design Dictionary) for public distribution, to be utilized prior to our small-town charrettes. These illustrated booklets were designed to bridge the language and design process gap between the design professional and the public citizen, and to create a more active immersive participatory urban design engagement. Since the introduction and public use of these booklets, I have been involved with over a hundred CBP charrettes. In this paper, I will introduce and present the urban design public booklets, and demonstrate how the urban design graphics and visual communications were utilized effectively through several small-town charrette case studies. The paper will also blend the transition between the analog graphics and the digital imagery.

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Yang, Chao-Ming, and Tzu-Fan Hsu. "New Perspective on Visual Communication Design Education: An Empirical Study of Applying Narrative Theory to Graphic Design Courses." International Journal of Higher Education 6, no. 2 (April 12, 2017): 188. http://dx.doi.org/10.5430/ijhe.v6n2p188.

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Visual communication design (VCD) is a form of nonverbal communication. The application of relevant linguistic or semiotic theories to VCD education renders graphic design an innovative and scientific discipline. In this study, actual teaching activities were examined to verify the feasibility of applying narrative theory to graphic design courses. Matched group design was employed to equally divide 30 participants into experimental and control groups, who participated in distinct activities over a 4-week period. The results revealed that incorporating narrative theory into graphic design courses enabled increasing students’ poster design capabilities across various dimensions, including thematic concept, image creativity, and visual aesthetic. Narrative is a storytelling method. Applying narrative techniques to VCD not only facilitates the creativity of designers, but also elicits the audience’s visual memory, thereby encouraging a bidirectional communication between the two entities.

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Bichler, Katrin Elisabeth, and Sofie Beier. "Graphic Design for the Real World? Visual Communication’s Potential in Design Activism and Design for Social Change." Artifact 3, no. 4 (July 28, 2016): 11. http://dx.doi.org/10.14434/artifact.v3i4.12974.

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This article examines graphic design’s role within design activism. It outlines design activism in general and its relation to commercial design culture in a consumerist economy. Thereafter it discusses persuasive tendencies in graphic design and questions if its current contribution to design activism is limited to its predominant narrow role of persuading for “the good cause.” To illustrate the hypothesis that such a persuasive approach lacks activist potential and thus social impact, cases that represent traditional graphic-design activism are compared to alternative approaches with an informative rather than persuasive character. The latter cases exemplify how information design can challenge the status quo and range from conventional leaflets to interactive tools and data visualizations. The discussion explores how these cases work as a non-commercial service to its audience, rather than solely solving communicative problems for commissioning clients. It is argued that in this way visual communication can intervene into problems on a functional level, similarly to artifacts from design disciplines such as architecture and industrial or product design.

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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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Rajbhandari, Jitendra Man. "Graphic Communications in the Context of Nepal." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (December 1, 2018): 50–57. http://dx.doi.org/10.3126/sirjana.v5i1.39743.

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Graphic communication, a powerful tool for conveying information through visual aids has undergone a radical change since its early application by cave artists of Paleolithic age. With the development of print technology, both the scope and significance of graphic technology have been expanding. In the context of Nepal, graphic communication has received an attention since the advent of printing press. Several artists, illustrators and graphic designers have made great contributions on the development of this form of Applied Arts. Since the last few years the Fine Arts institutions in Nepal have been introducing Graphic Communications into their curriculum which is sure to uplift the quality of graphic design in promotion of the products and services in the Nepali market.

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Peng, Jun. "A Discussion on the Innovation of Graphic Advertising Design Curriculum Based on Competition Events." Advanced Materials Research 934 (May 2014): 269–72. http://dx.doi.org/10.4028/www.scientific.net/amr.934.269.

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Graphic advertising design in visual communication teaching is a very inclusive curriculum. This paper is started based on the competition events that the author encountered when teaching graphic advertising design, the role of competition events in promoting the information communication of advertising design teaching is analyzed and the innovative superiority of advertising design teaching in a environment of competition events is introduced in this paper, the misunderstandings existed in the teaching practice of competition events is also discussed, expecting to optimize the combination of graphic advertising design curriculum and competition events.

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Atasoy, Seda Nur. "The role of graphic design in the COVID-19 global outbreak." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 52–69. http://dx.doi.org/10.18844/prosoc.v7i4.5791.

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Many studies have been performed in the field of graphic design to prevent and monitor the coronavirus disease global outbreak, which emerged in Wuhan City, China, and has been announced as a pandemic by the World Health Organisation. Graphic Design has always taken a stand towards positive thinking by enhancing creative reactions to the challenging conditions (conditions in which there is no physical human connection, movement is restricted, concerns increase, etc.) that human beings have faced up so far and has supported the idea of the world that is trying to heal. The aim of this study is to examine the communication power that graphic design has created during the pandemic process by inspecting the current works of a common language which has been put forward as a graphic language in order to be united in the name of graphic design, both in the information charts of the coronavirus in the name of graphic design and in this troubled process of the world. In this study, the reaction, contribution and support, which have been developed by Graphic design for the COVID-19 pandemic process, were examined and samples were presented from designers by examining illustrations, posters, infographics, graphic products and so on, which have been made around the world. In addition to this, creative problem solutions and the role of graphic design have also been explored for solving these problems. Keywords: Graphic design, COVID-19, coronavirus, outbreak, epidemic.

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Liu, Chunyan, Zhe Ren, and Sen Liu. "Using Design and Graphic Design with Color Research in AI Visual Media to Convey." Journal of Sensors 2021 (September 15, 2021): 1–11. http://dx.doi.org/10.1155/2021/8153783.

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With the development of science and technology and social progress, people can reveal design information in different forms on a daily basis. The more common visual design information, the more important its development status. In visual communication design, the two most important factors are color and image. These two factors can play a great role and can attract the public’s attention. This article is based on AI technology to study the design of color matching and image application in visual media communication design, aiming to innovate the method of visual media communication design, breaking through the traditional color matching and image application, so as to better use color art in visual communication design and graphic art and design excellent works. First, this article elaborates on the concept, main components, and influencing factors of visual communication design and also introduces the application of AI technology, then designs a visual media communication design model based on AI technology, and finally analyzes the current status of visual media communication design, usage, and satisfaction. From the analytical analysis, it appears that the optical media interface is commonly used for packaging design, responding to 45.6%; it is used more in the film and television media industry, reaching 68%; 49% of the public are very satisfied with AI visual media communication design. The above data fully shows that the application of AI visual media communication design is very wide, and the color matching and image use are very prominent, and the public is willing to accept AI visual media communication design works.

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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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Restrepo Boada, María del Rosario. "Graphic design production as a sign." Sign Systems Studies 42, no. 2/3 (December 5, 2014): 308–29. http://dx.doi.org/10.12697/sss.2014.42.2-3.07.

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The article attempts to show that graphic design production works through a particular semiotic process. The performance of a new sign category, the Graphic Sign, makes possible the articulation of the iconic, the plastic, and the linguistic signs in case of a specific dialogue that exists between the letters and the images in some graphic design productions. Overhauling theories of Eco, Groupe μ and Klinkenberg, we will be able to understand that Graphic Design generates meaning in a formal dimension, yet it also generates particular cognitive structures. Therefore, understanding this new kind of sign, we can recognize its communicational dimension and the powerful cultural creation platform this Design is, beyond its ability to make things visible and in the best cases clear and beautiful.

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Wijaya, Novan. "Pelatihan Membuat Desain Logo Vector Menggunakan Adobe Illustrator dan Adobe Flash di SMK Bina Cipta Palembang." Jurnal Pengabdian Pada Masyarakat 1, no. 1 (December 1, 2016): 25–29. http://dx.doi.org/10.30653/002.201611.5.

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Information technology is growing rapidly, especially graphic design which beneficial to the advancement of education. In the science of graphic design can give participants skill to communication visually, either text or images to convey a message. Graphic design skilla are needed in various fields of business such as printing, advertising, multimedia, fashion, industry and education until creative industries. Software used is Adobe Illustrator. Adobe illustrator based on vectors. Final result obtained better than quality if magnification/zoom. Output of this activity is praticipants can implement graphic design either form of making school environment a bulletin board or other announcements can be implemented in the world as well as work related to graphic design.

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Zhang, Yuejiao. "Assessing Attitudes Toward Content and Design in Alibaba’s Dry Goods Business Infographics." Journal of Business and Technical Communication 31, no. 1 (September 19, 2016): 30–62. http://dx.doi.org/10.1177/1050651916667530.

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Alibaba’s Graphic Media (GM) is the first and only Internet content source that uses infographics to educate Chinese e-commerce merchants. This study investigates target audiences’ attitudes toward GM infographics. Two focus groups perceived GM as a practical information source that aided them in decision making and daily business operations. They preferred viewing graphics to texts and particularly favored statistical graphics. They also identified issues with viewing GM infographics on mobile devices. Based on the study’s findings, the author proposes three areas that communicators can address when designing infographics in similar contexts: content, usability, and overall visual appeal.

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Udris-Borodavko, Natalia, Tatyana Bozhko, Liliana Vezhbovska, Oksana Chuieva, Viktoriia Oliinyk, and Yaroslav Hordiichuk. "The main trends in the graphic design development as a tool of visual communication in the information society." LAPLAGE EM REVISTA 7, no. 3 (August 10, 2021): 33–41. http://dx.doi.org/10.24115/s2446-62202021731254p.33-41.

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The aim of the article was to identify the main trends in the development of graphic design in the modern information society. This article uses qualitative and quantitative methods of analysis of graphic design development. Based on statistical analysis, the graphic design markets of Italy, Germany, Hungary and Poland for 2018 were estimated according to the European Design report (2018). Based on the indicators of ICT sector development, the state of the information society for the formation of potential trends in the development of graphic design has been identified. Indicators of skills shortages and skills shortages in the ICT sectors of the countries were taken from the OECD database (2021). The results show differences in the development of the ICT sector of countries and design markets.

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Ovchinnikova, Raisa Yu. "RATIO OF THE VISUAL AND COMMUNICATION ELEMENTS IN GRAPHIC DESIGN." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 23(3) (September 1, 2016): 140–49. http://dx.doi.org/10.17223/22220836/23/14.

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Cornish, Katie, Joy Goodman-Deane, Kai Ruggeri, and P. John Clarkson. "Visual accessibility in graphic design: A client–designer communication failure." Design Studies 40 (September 2015): 176–95. http://dx.doi.org/10.1016/j.destud.2015.07.003.

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Huang, Shenghong. "The Influence of Digital Multimedia Communication Forms on Graphic Design." Computer Systems Science and Engineering 35, no. 3 (2020): 215–22. http://dx.doi.org/10.32604/csse.2020.35.215.

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Fox, Stephen, and Stefan Grösser. "Economical information and communication design for multi-national projects." International Journal of Managing Projects in Business 8, no. 3 (June 1, 2015): 574–85. http://dx.doi.org/10.1108/ijmpb-02-2015-0014.

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Purpose – The purpose of this paper is to inform information and communication design (ICD) for multi-national projects through the presentation of an example that does not rely on expensive expertise in graphic design. Design/methodology/approach – Action research involving participants from five different sectors. Findings – Successful ICD is not necessarily dependent upon costly graphic design of elaborate explanatory methods such as storyboards. Research limitations/implications – The action research involved participants from only five differect sectors. Practical implications – Economical ICD can facilitate development of understanding among multi-sector multi-national project participants. Originality/value – The originality of this research note is that it addresses recent developments in ICD. The value of this research note is that an example is provided of application in a multi-sector multi-national project.

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Melini, Ellis. "Application of The Synesthetic Approach in A Layout Design Course." de-lite: Journal of Visual Communication Design Study & Practice 1, no. 1 (July 4, 2021): 1. http://dx.doi.org/10.37312/de-lite.v1i1.3928.

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In visual communication design education, teachers strive to help students understand how to generate ideas in whatever form of graphics they are trying to create. This paper focuses on how we apply the concept of synesthesia in a visual composition, specifically in the form of a page layout comprising both text and images. This research is done in a class of second-year students majoring in graphic design in a visual communication design bachelor program. Students are given an assignment to create a multi-column layout and incorporate the synesthesia concept in their design. The result is quite interesting, with some artworks showing what can be considered as universal synesthetic experience for the viewers. The artworks are then evaluated and considered for future classroom exercises.

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Narváez Alarcón, Cristian Andrés, and Germán Andrés Garnica Gaitán. "Lineamientos para el diseño de interfaces gráficas y componentes gráficos de sistemas de comunicación aumentativa y alternativa." kepes 16, no. 20 (July 1, 2019): 345–75. http://dx.doi.org/10.17151/kepes.2019.16.20.13.

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Renon, Anne-Lyse. "Graphic design and research in social sciences: Jacques Bertin and the Laboratoire de Graphique." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-311-2019.

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Abstract. The contemporary rise of data visualization and imaging technologies in all areas of knowledge now places design and visuality at the heart of research and its communication, with fundamental implications for scientific epistemology. Jacques Bertin's Laboratoire de Graphique (LG) of the Ecole des Hautes Etudes en Sciences Sociales (EHESS) in France, is a privileged entry for this study, since it was a major player in this movement, at the crossroads of graphic innovation and social sciences as they reinvented themselves in the second half of the twentieth century.This intervention aims to explore a black box of research in the humanities and social sciences, according to two approaches, that of the interdisciplinary collaborations and that more experimental of the graphic design and formatting of information. By design we mean as all the processes from graphical display of data, to CHI, new methods of scientific representation.This laboratory was created and directed by the cartographer and semiologist Jacques Bertin from 1954 to 2000 at the Ecole Pratique des Hautes Études and, under the impetus of Fernand Braudel, at the Ecole des Hautes Etudes en Sciences Sociales (EHESS), is considered as a forerunner of productions and reflections on graphic research in the social sciences. His work articulates an unprecedented production of images, visualization of data and scientific research, forming the subject of a fundamental treatise, Graphical Semiology (1967). The intervention will trace the largely unknown history of this laboratory, will pinpoint the contributions and the intellectual trajectory of its graphic experiments and collaborations.Indeed, while the activities related to the LG's cartographic research are relatively well known, its interactions with history, statistics, sociology, anthropology, urbanism, literature and the decorative arts remain unexplored.Jacques Bertin, in Semiology of graphics (1967), highlighted the concept of « visual variables » to build a general rhetoric of visual representation: background shape orientation grain color, etc.The paradox of these visual variables is the desire to achieve an objectivity of representation, while taking into account the ”aesthetic“ part of the data. This graphic rhetoric developed by Bertin has influenced many works and disciplines, becoming almost standard, convention, rules. In this session we propose to discuss the relationship between design and visual variables in the contemporary visual display of information.We will start by presenting the two complementary funds of archives of the Laboratoire de Graphique the NAs and the BnF, allowing a genetic analysis of the origin of certain concepts of Bertin to give an account of the process of their elaboration.We will present collaborations, content, and processes to produce a story that is at once aesthetic, social, economic, and political. We will measure the evolution of scientific imaginaries, the values and uses of representation methods and graphic communication tools, their epistemological scope into 4 thematics:<ol><li>The Life of the Graphic Lab: Pathways, Collaborations and Practices at EHESS. Collaboration Braudel-Bertin,creation of the visual identity of the EHESS, practices and conceptualization of the place of graphic research in the social sciences. Bertin heritage in current research programs</li><li>The graphic semiotics of Jacques Bertin: genesis and effects, including in contemporary digital humanities (statistics,big data, cultural analytics). Visual variable and Display of information as the starting point of a research, fieldworks</li><li>The expressivity and plasticity of graphic work: the representation of geographical and human territory. Contribution of the experimental work of the Graphical Laboratory to cartography; materialization of the instrumental design and graphic knowledge in the uses and materiality of the cards from the point of view of the plastic creation and the patrimonial conservation. Objectivity and visual display: relationships between graphics and fact in scientific demonstration</li><li>Graphical semiology in contemporary research, from graphic semiology to information design; pedagogical and epistemological issues of graphic semiology; dissemination of the work of the Laboratoire de Graphique and impact on the field of design and different disciplines in the international context. « Redesigning » the concepts of Bertin: how new data processing tools can contribute?</li></ol>The new convergences between design and research will be mobilized to question the place devolved to design in the visual and instrumental construction of contemporary scientific practices and knowledge. This will stimulate a dynamic and a collective experience of interdisciplinary discovery of uses of these methods and tools in heritage context.

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Murchie, Karen J., and Dylan Diomede. "Fundamentals of graphic design—essential tools for effective visual science communication." FACETS 5, no. 1 (January 1, 2020): 409–22. http://dx.doi.org/10.1139/facets-2018-0049.

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Guidance on improving the visual aspects of science communication range from “recipe”-style instructions to hyper-focused aspects of data visualization. Currently lacking in the peer-reviewed literature is a primer in graphic design tailored to a high-level overview of basic design principles and associated jargon related to layout, imagery, typeface, and colour. We illustrate why these aspects are important to effective communication. Further, we provide considerations on when to solicit professional assistance and what to expect when working with graphic designers. Having the fundamental principles of good design in your toolbox facilitates the production of effective visual communication related to your research and fruitful scientist–designer collaborations.

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Yan, Ru Shan. "A Study of the Influence of New Media on Graphic Design in Computer Age." Applied Mechanics and Materials 121-126 (October 2011): 4362–66. http://dx.doi.org/10.4028/www.scientific.net/amm.121-126.4362.

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New media technology changes our communication way and communication object, and also every aspect of our life, including communication, study, working, etc.. Visual language is a part of these aspects. Visual language, especially visual language of graphic design relies heavily on technology development. From petroglyph to the invention of printing, then to the application of computer, Internet, and satcom technologies, for human communication, each technology has revolutionary significance. This paper mainly discusses influence and meaning of new media on visual language of graphic design, as well as consideration of future development.

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Haught, Matthew J. "FireSigns: A Semiotic Theory for Graphic Design, by Steven Skaggs." Visual Communication Quarterly 25, no. 3 (July 3, 2018): 193–94. http://dx.doi.org/10.1080/15551393.2018.1491197.

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Gabrielyan, Tigran O. "INTERACTIVITY OF MODERN COMMUNICATIVE GRAPHIC DESIGN PRODUCTS." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 14. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-14.

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The article discusses various types of interactivity in the context of communicative design. Its emergence in the mid-20th century and modern interpretation as a media communicator are considered. The division into printed and electronic (analog and digital) media communications is emphasized. Principal attention is paid to material (printed and graphic) design products: toy books, packaging, posters, and illustrations. In general form, interactivity is understood as interaction (action of cooperation) between the individual and the design product. Linear interactivity, reactive interactivity and dialogue interactivity are analyzed. Linear interactivity is regarded as metaphysical interaction between the consumer and the design product. Reactive interactivity allows the consumer to bring to completion the design program as conceived by the author and obtain a finished design product. Dialogue interactivity cannot be implemented in a material design product without its integration with digital algorithmic or intelligent systems.

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Smith, Roger. "Terminological inexactitudes: image functions in graphic communication." Information Design Journal 4, no. 3 (January 1, 1986): 199–205. http://dx.doi.org/10.1075/idj.4.3.03smi.

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This article arises from the author's teaching notes concerning the role of images in communication and the use of information structures in transmitting messages. For those students who are potential design practitioners rather than theorists, widespread contradiction and ambiguity in the relevant literature presents many obstacles to understanding. A wide diversity of terms and definitions highlights the need for more radical analysis so that the realities represented can be effectively disclosed. To evaluate image theories and systems and the crucial issues which are raised a coherent method and framework is necessary.

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Kimball, Miles A. "London through Rose-Colored Graphics: Visual Rhetoric and Information Graphic Design in Charles Booth's Maps of London Poverty." Journal of Technical Writing and Communication 36, no. 4 (October 2006): 353–81. http://dx.doi.org/10.2190/k561-40p2-5422-ptg2.

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Harland, Robert. "Some important things to say about graphic design education." Art, Design & Communication in Higher Education 16, no. 1 (April 1, 2017): 3–6. http://dx.doi.org/10.1386/adch.16.1.3_2.

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Bulduk, Banu. "Contemporary illustration methods and new application areas on illustrations: Interaction induced animated illustrations." Global Journal of Arts Education 6, no. 3 (June 29, 2016): 77–84. http://dx.doi.org/10.18844/gjae.v6i3.1699.

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Illustration can be defined as a sub-discipline of graphic design enabling the realization of visual communication which mediates to the description of ideas and thoughts in a formal way. From the past to the present, illustrations find various areas of usage as visual elements in communication environment and it can be used as a design element for many graphic products ranging from product designs to children’s books. Over time, stylistic differences in illustration languages have also turned into structural differences in design and production process and concepts such as interaction, user control and animation have developed an alternative language to the traditional illustration techniques. Contemporary form-languages of these illustrations are examined in the scope of this study. Formal analysis of illustrated graphic products and their delivery to new media environments are considered in this process. Animated illustrations and three dimensional design, among those application techniques, are at the active position to intensify the perception of viewers/readers via illustration. In this study, method included the usage, design and application processes of animated illustration applications, also current and proposed examples and alternative languages’ search of illustrations are discussed. Keywords: illustration, contemporary illustration, animated illustration, three dimensional art design, interaction design.

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Simlinger, Peter. "Visual communication design." Information Design Journal 25, no. 3 (December 31, 2019): 314–24. http://dx.doi.org/10.1075/idj.25.3.09sim.

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Abstract Having graduated in architecture at the University of Technology Wien [Vienna], I subsequently engaged in post-graduate studies at The Bartlett School of Architecture and Planning / University College London. Corporate design and signage design attracted my attention. Back home a major bank and Vienna airport (VIE), among others, were the first clients of my company. As chairman of Committee 133 “Public information symbols” of “Austrian Standards”, I was responsible for the elaboration of several theme specific national and international standards. In 1993 I founded the IIID International Institute for Information Design. Several r&d projects within the frame of the 6th and 7th European Union Framework Programmes for Research and Technological Development were carried out. However, due to the required but denied support from the Austrian Ministry of Science and Research, the founding of an interdisciplinary institute, affiliated to the United Nations University (UNU), did not materialize. No chance either to establish “Visual Communication Design” at a local university. Until now the Department of Typography and Graphic Communication of The University of Reading (UK) seems to be the only theme specific institution on tertiary university level in Europe. Challenges nowadays range from legible medical package inserts to a much required unified system for the European Union highway signs.

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Ball, Nigel. "The Graphic Design Process: How to Be Successful in Design School, Anitra Nottingham and Jeremy Stout (2019)." Art, Design & Communication in Higher Education 19, no. 1 (April 1, 2020): 119–21. http://dx.doi.org/10.1386/adch_00017_5.

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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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Rohner, Cynthia. "Review of “Information Graphics and Visual Clues: Communicating Information through Graphic Design” by Ronnie Lipton." Information Design Journal 11, no. 2-3 (December 31, 2003): 277–79. http://dx.doi.org/10.1075/idj.11.2.33roh.

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Oktanizar, Mirza, and Dwi Ely Kurniawan. "Development of Motion Graphic as Education Material for Promoting Shipping Industry Using EPIC Model Testing." IJNMT (International Journal of New Media Technology) 8, no. 1 (June 27, 2021): 27–34. http://dx.doi.org/10.31937/ijnmt.v8i1.1793.

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Education related to problems in the shipping industry to the general public who have no background in the shipping industry and activities when ships dock at the port becomes a challenge to conduct research. This research develops multimedia motion graphics to combine graphic design, animation, text, and sound in visualizing materials and activities in the shipping industry. Stages of making multimedia start from ideas, narration, storyboard, tracing, editing, rendering, and testing. The research uses the EPIC Model testing by paying attention to aspects of empathy, persuasion, impact, and communication. The results of testing the effectiveness of the EPIC model obtained an EPIC rate of 4.15, which means that the resulting motion graph falls within the effective range criteria. Index terms— multimedia; motion graphic; EPIC model; effectiveness

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Косів, В. М. "МІЛІТАРНИЙ ОБРАЗ УКРАЇНЦЯ У ГРАФІЧНОМУ ДИЗАЙНІ ДІАСПОРИ 1945–1989 РР." Art and Design, no. 4 (March 4, 2019): 65–71. http://dx.doi.org/10.30857/2617-0272.2018.4.6.

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The purpose of the study is to identify the peculiarities of a Ukrainian Man visual representation in the 1945–1989 graphic design of the Ukrainian diaspora. The methodology of this research is based on iconographic and semiotic analysis, as well as the application of gender studies approach. Graphic design is discussed as visual communication, methods of the «new art history» were applied.

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Hordiichuk, Yaroslav. "Communicative Images of Graphic Designers on Instagram Pages." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 1 (July 2, 2021): 21–35. http://dx.doi.org/10.31866/2617-7951.4.1.2021.236117.

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The purpose of the article is to identify the features of successful graphic designers of the 21st-century positioning on the pages of the social network Instagram, highlight the directions of communication strategies and approaches to their visualization. Research methodology. To carry out this study, we used the empirical method of collecting factual material, analysis, comparison, and generalization methods. The principal source of analytics is designers’ Instagram pages as factual material. The scientific novelty of the study consists in a comparative analysis of graphic designers’ communicative images on Instagram pages, based on which, for the first time, an attempt was made to systematize communicative contact strategies with subscribers. There are four possible approaches to creating the communicative image of the designer, which, however, do not exhaust the entire range of options. Conclusions. The communicative image use for communication on social networking pages is a reasonable and effective method of a designer’s professional development, as the number of subscribers on such pages is much bigger and reaches several hundred thousand active subscribers. The design of social communication by designers with their audience is contained in the planning of the strategy of the communication process as a whole, the tactics of individual communication acts (posts), the allocation of several types of content, and their rhythmic alternation and design. The design of social communication by designers with their audience is contained in planning the communication process strategy as a whole, the individual communication acts (posts) tactics, the allocation of several types of content, and their rhythmic alternation and design. These components combination increases the effectiveness of the designer’s communicative image, presented on the social network pages. This, in turn, together with the constant contact with subscribers, ensures the popularity of the designer, increases the range of potential customers and promotes professional growth.

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Riyadi, Tunjung. "Mengkaji Karakteristik Media Televisi untuk Memudahkan Merancang Komunikasi Visual yang Tepat." Humaniora 1, no. 2 (October 31, 2010): 705. http://dx.doi.org/10.21512/humaniora.v1i2.2911.

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A work of visual communication design which aired on the television screen has a different perspective in its interpretation in the eyes of the audience when compared to other media. By understanding the characteristics and nature of media, proper exploration of graphic design can easily be created. Through literature study, observations of the author as a practitioner of graphic design for television and comparisons with the print media will facilitate the understanding of this study.

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

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