Journal articles: 'DESIGN / Graphic Arts / General'

1

Creagh, Linda T., and Marlene McDonald. "Design and Performance of Inkjet Print Heads for Non-Graphic-Arts Applications." MRS Bulletin 28, no. 11 (November 2003): 807–11. http://dx.doi.org/10.1557/mrs2003.229.

Full text

Abstract:

AbstractInkjet print heads have become the dominant printing element for home and office printers; they have been a key driver forthe digitization of wide-format graphic arts printing and other printing areas as diverse as addressing and carton coding. In the past few years, inkjet print heads have begun to have an impact in areas outside the graphics arts. In these applications, the inkjet print head may be considered a manufacturing tool; this implies that it will differ in design depending on the application. Also, standards forreliability, consistency, and dependability will differ from those in graphic arts areas. Even though non-graphic-arts applications differ widely in their details, there are general considerations in terms of the systems that are required. Each nontraditional application has specific goals for manufacturing, and a unique inkjet print head designed to meet these goals may be required. This article focuses on a specific piezo-based inkjet print head that has been engineered to meet the manufacturing requirements for flat-panel displays basedon light-emitting polymeric materials.

APA, Harvard, Vancouver, ISO, and other styles

2

Joshua Alahira, Nwakamma Ninduwezuor-Ehiobu, Kehinde Andrew Olu-lawal, Emmanuel Chigozie Ani, and Irunna Ejibe. "ECO-INNOVATIVE GRAPHIC DESIGN PRACTICES: LEVERAGING FINE ARTS TO ENHANCE SUSTAINABILITY IN INDUSTRIAL DESIGN." Engineering Science & Technology Journal 5, no. 3 (March 17, 2024): 783–93. http://dx.doi.org/10.51594/estj.v5i3.902.

Full text

Abstract:

The intersection of graphic design and sustainability presents a dynamic arena for eco-innovative practices, particularly in the realm of industrial design. This review explores the integration of fine arts principles within graphic design to enhance sustainability initiatives in industrial design processes. The essence lies in leveraging the creative potential of graphic design to foster ecologically conscious solutions, thus contributing to the broader ethos of sustainable development. Eco-innovative graphic design practices encompass a range of strategies aimed at minimizing environmental impact while maximizing aesthetic and functional value. Drawing inspiration from fine arts disciplines, such as painting, sculpture, and photography, designers infuse their work with elements that reflect ecological awareness and responsibility. By integrating themes of nature, conservation, and sustainable living into visual communication, graphic designers play a pivotal role in raising awareness and inspiring action towards sustainable practices. In the context of industrial design, the collaboration between graphic designers and product developers yields innovative solutions that prioritize environmental sustainability. Through thoughtful consideration of materials, production processes, and end-of-life disposal, eco-innovative graphic design practices contribute to the creation of products that are both visually compelling and ecologically sound. Whether through the use of recycled materials, minimalist packaging designs, or biodegradable components, graphic designers harness their artistic prowess to redefine the parameters of sustainable design. Moreover, eco-innovative graphic design practices extend beyond the realm of physical products to encompass digital experiences and branding initiatives. Through digital platforms, designers have the opportunity to promote sustainability messaging, advocate for environmental causes, and encourage behavior change towards more eco-conscious consumption patterns. In conclusion, the integration of fine arts principles within graphic design serves as a catalyst for enhancing sustainability in industrial design. By leveraging creativity, innovation, and visual communication, designers have the power to shape a more sustainable future where ecological considerations are central to the design process. Embracing eco-innovative graphic design practices is not merely a stylistic choice but a conscientious commitment towards harmonizing human creativity with the imperatives of environmental stewardship. Keywords: Eco-Innovative, Graphic Design, Fine Arts, Industrial Design, Sustainability, Review.

APA, Harvard, Vancouver, ISO, and other styles

3

Svitlana Botvinovska, Tatyana Nikolayenko, Alexandra Kunovskaya, and Victoria Bolbotenko. "USE OF MODERN PEDAGOGICAL TECHNOLOGIES IN THE COURSE OF DESIGN GRAPHICS FOR STUDENTS OF THE SPECIALTY "FINE ARTS"." APPLIED GEOMETRY AND ENGINEERING GRAPHICS, no. 99 (December 17, 2020): 28–42. http://dx.doi.org/10.32347/0131-579x.2020.99.28-42.

Full text

Abstract:

The paper presents the main advantages of using the project method during distance work of students when they execute a graphic project in the discipline "Engineering Design Graphics". Students study in the specialty "Fine Arts." It is known that high-quality education can be only when theoretical knowledge can be applied in practice. Therefore, it is the use of the project method in the study of graphic disciplines that can become the basis for the training of design specialists. The use of the project method in the study of graphic disciplines leads to an increase in student activity, the acquisition of teamwork skills, the expansion of students' worldview and the acquisition of professional competencies.The capacity of the project method is confirmed by high-quality student works that were submitted to the competition. In the process of creating the group logo, project participants gained research skills, consolidated their knowledge and skills in graphic description of existing images. The information received in the course "Engineering Design Graphics" allowed the contest participants to qualitatively express their thoughts, demonstrate their creative ideas, and provide the project with high-quality graphic images. The use of the project method allowed teachers to identify the research skills of first-year students, recognize among them those who are able to think independently make non-standard decisions and critically evaluate their work.During the project, students, working in groups, learned to combine the knowledge gained during training, became interested in information about graphic images and methods of their execution, learned to correlate the obtained theoretical material with the solution of the problem of geometric modeling of the emblem of the group. According to the results of the competition, it is possible to draw conclusions that students of the Project Graphics course demonstrated the ability to think independently, make interesting decisions, demonstrated the ability to qualitatively perform two-dimensional graphic images of various complexity when solving various engineering tasks and during design projects.

APA, Harvard, Vancouver, ISO, and other styles

4

Joshua Alahira, Kehinde Andrew Olu-lawal, Irunna Ejibe, and Nwakamma Ninduwezuor-Ehiobu. "SUSTAINABLE MATERIALS AND METHODS IN INDUSTRIAL DESIGN: BRIDGING THE GAP WITH FINE ARTS AND GRAPHIC DESIGN FOR ENVIRONMENTAL INNOVATION." Engineering Science & Technology Journal 5, no. 3 (March 17, 2024): 774–82. http://dx.doi.org/10.51594/estj.v5i3.901.

Full text

Abstract:

In recent years, the urgency to address environmental concerns has prompted a paradigm shift in industrial design towards sustainability. This review explores the integration of sustainable materials and methods within the realm of industrial design, facilitated by the interdisciplinary collaboration with fine arts and graphic design. The paper examines how sustainable materials, characterized by their reduced environmental impact and recyclability, are increasingly favored in industrial design processes. It delves into the challenges faced by designers in implementing sustainable practices and the innovative solutions emerging from the fusion of traditional industrial design principles with concepts from fine arts and graphic design. Through a comprehensive literature review, this review highlights the importance of interdisciplinary collaboration in bridging the gap between industrial design and sustainability. It underscores how the integration of artistic sensibilities and graphic communication enhances the aesthetic appeal and functionality of sustainable designs, thereby driving environmental innovation. Case studies and examples from various industries illustrate successful collaborations where sustainable materials and methods have been seamlessly integrated into industrial design projects. The review also discusses the role of consumer awareness and market demand in fostering the adoption of sustainable practices within the design industry. Ultimately, this review emphasizes the transformative potential of merging sustainable materials and methods with fine arts and graphic design in industrial design. It advocates for a holistic approach that prioritizes environmental stewardship without compromising on creativity or functionality, thus paving the way for a more sustainable future in design. Keywords: Materials, Industrial Design, Fine Arts, Graphic Design, Environment, Innovation, Review.

APA, Harvard, Vancouver, ISO, and other styles

5

Shkolna, Olga, Olga Sosik, and Alla Buigasheva. "Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 291–98. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246856.

Full text

Abstract:

The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced. Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades. If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.

APA, Harvard, Vancouver, ISO, and other styles

6

Joshua Alahira, Emmanuel Chigozie Ani, Nwakamma Ninduwezuor-Ehiobu, Kehinde Andrew Olu-lawal, and Irunna Ejibe. "THE ROLE OF FINE ARTS IN PROMOTING SUSTAINABILITY WITHIN INDUSTRIAL AND GRAPHIC DESIGN: A CROSS-DISCIPLINARY APPROACH." International Journal of Applied Research in Social Sciences 6, no. 3 (March 17, 2024): 326–36. http://dx.doi.org/10.51594/ijarss.v6i3.890.

Full text

Abstract:

In contemporary design discourse, the intersection of fine arts with industrial and graphic design emerges as a pivotal avenue for promoting sustainability. This paper explores the evolving relationship between fine arts and design disciplines, highlighting their collaborative potential in addressing environmental challenges. By adopting a cross-disciplinary approach, it investigates how incorporating principles of fine arts into industrial and graphic design practices can foster sustainable solutions. The paper begins by contextualizing the current environmental crisis and the imperative for sustainable design interventions. It then delves into the fundamental principles of fine arts, emphasizing its emphasis on creativity, expression, and aesthetic sensibility. Through a comparative analysis, it elucidates how these principles can complement the technical aspects of industrial and graphic design to imbue products and visuals with sustainability-driven narratives. Furthermore, the paper examines case studies and examples where fine arts techniques and philosophies have been integrated into design processes to enhance sustainability. These include practices such as upcycling, biomimicry, and eco-conscious visual communication strategies. Additionally, it explores the role of fine arts education in nurturing a mindset that prioritizes environmental stewardship within design professionals. The findings suggest that by embracing a cross-disciplinary approach that embraces fine arts principles, designers can transcend traditional boundaries to create innovative, sustainable solutions. This synthesis of art and design not only enriches the aesthetic appeal of products and visuals but also instills a deeper consciousness of environmental responsibility. Ultimately, this paper advocates for a holistic integration of fine arts within industrial and graphic design practices as a means to promote sustainability in the face of global challenges. Keywords: Fine Arts, Graphic Design, Cross-Disciplinary, Industrial, Sustainability, Reviews.

APA, Harvard, Vancouver, ISO, and other styles

7

Wei, Wang. "Professional training of future fine arts teachers for the use of graphic design." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2023, no. 2 (143) (June 29, 2023): 68–73. http://dx.doi.org/10.24195/2617-6688-2023-2-9.

Full text

Abstract:

The article is devoted to the urgent problem of training future fine arts teachers for the use of graphic design. The goal of the article is to systematize and generalize scientific research on the training of future fine arts teachers for the use of graphic design. It was specified that in modern society the issues of forming the professional qualities of the art teacher, creating the conditions that would ensure their training in the system of higher pedagogical education are becoming particularly acute. After all, nowadays there is a need to develop design skills and mastery in future art teachers who could use graphic design in their professional activity, as well as teach this craft to students so that they can create brochures, magazines, books, advertising products, various packaging, web design etc. It has been proven that the training of such specialists who have the basics of design culture is an urgent problem of modern art pedagogy. It was determined that the formation of design skills in students as an integral component of the professional qualities of a future teacher of fine arts is realized in the process of their activity, during which individual characteristics are manifested, which contribute to the formation of a person’s positive attitude towards their profession and the people with whom they work, as well as the desire for personal growth and professional improvement. In general, the training of future fine arts teachers for the use of graphic design is a long, controlled, responsible process of forming professional competences, the result of which is knowledge and skills that future specialists will use in their further activities; it is the unity of theoretical and practical readiness of future teachers of fine arts to use graphic design in their professional activities. It has been confirmed that proper training of future art teachers with established professional competences will provide opportunities to become competitive in the service market.

APA, Harvard, Vancouver, ISO, and other styles

8

Mustafa, Bahaa, and Abeer Ibrahim. "Graphic Design and the Role of Motion Graphics in Enriching and Promoting Tourism Advertising." Dirasat: Human and Social Sciences 50, no. 2 (March 30, 2023): 569–81. http://dx.doi.org/10.35516/hum.v50i2.4962.

Full text

Abstract:

Objectives: The study aims to introduce the challenges faced by the reality of designing animated illustrations in advertising for tourism promotion in the Arab world. It explores the interest in designing animated illustrations in the Arab world and the challenges it faces, while seeking positive solutions capable of advancing the design and development of animated illustrations in the region. Methods: This study utilizes a descriptive analytical approach, chosen for its suitability in achieving the study's objectives. Results: The motion graphic industry is complex, requiring careful planning and decision-making on both the economic and technical fronts. It emphasizes the significance of graphic design and its role in motion graphic design, showcasing destinations in a captivating manner that sparks the tourists' desire to experience them in person. The study identifies the various steps involved in motion graphic design, including script writing, storyboarding, graphics, animation, and the creation of scenes for designing animated illustrations in tourism advertising. Furthermore, it focuses on processing these illustrations and presenting them in their final form. Conclusions: The study highlights the necessity for designers to be proficient in all design programs, stay updated with their advancements, and be familiar with their utilization to accurately accomplish their work and enhance the quality of motion graphics design..

APA, Harvard, Vancouver, ISO, and other styles

9

Gorbunova, Galina, Konstantin Savelyev, and Oksana Savelyeva. "General characteristic of professional skills on graphic activities in students of art and graphic design department of arts colleges." Perspectives of science and education 36, no. 6 (December 31, 2018): 196–204. http://dx.doi.org/10.32744/pse.2018.6.22.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Bu, Yi. "System of Micrographics and the Visual Practice of the “New Wave”: To the Defi nition of the Principles of Contemporary Design." Observatory of Culture 15, no. 3 (August 19, 2018): 290–97. http://dx.doi.org/10.25281/2072-3156-2018-15-3-290-297.

Full text

Abstract:

The paper is devoted to the study of the principles of micrographics in the artistic space and graphic design of the twentieth century. The article describes micrographics as an art phenomenon and considers it as an important element for the fi ne arts and graphics. The text studies principles of micrographic, which can be considered as an important component of the contemporary visual system. At the same time, micrographic elements defi ne the specifi cs of modern design. The article notes that micrographic principles are a common phenomenon in the visual systems throughout the 20th century. In addition, the article gives an attention to the typography and visual practice of the “New Wave” — the most important trend of graphic design in the second half of the 20th century. This phenomenon is considered as the central form of modern design whose specifi cs signifi cantly infl uenced the development of graphic design in general. At the same time, we observe the fact that the micrographic methods were important for the creation of the phenomenon of the “New Wave”. They correlate both: the visual system of the “New Wave” and the graphic program of modern graphic design. The article considers the main forms of micrographics, which were widely used in the system of “New Wave”. The author attempts to determine micrographics, and to give the characteristic of the “New Wave”. Micrographics is explored as a form in contemporary art space and as a system that had a signifi cant influence on the formation and development of the design in the twentieth century.

APA, Harvard, Vancouver, ISO, and other styles

11

Joshua Alahira, Zamathula Queen Sikhakhane Nwokediegwu, Alexander Obaigbena, Ejike David Ugwuanyi, and Obinna Donald Daraojimba. "Integrating sustainability into graphic and industrial design education: A fine arts perspective." International Journal of Science and Research Archive 11, no. 1 (February 28, 2024): 2206–13. http://dx.doi.org/10.30574/ijsra.2024.11.1.0306.

Full text

Abstract:

The integration of sustainability principles into graphic and industrial design education has become increasingly imperative in response to global environmental challenges. This paper explores the incorporation of sustainable practices within design education, particularly from the perspective of fine arts pedagogy. By examining the intersection of sustainability and design education, this study identifies key strategies and methodologies to infuse sustainable principles into the curriculum. Drawing from fine arts perspectives, it delves into the importance of interdisciplinary collaboration, experiential learning, and critical thinking in fostering sustainable design practices among students. Furthermore, the paper investigates the role of design educators in cultivating a mindset of environmental responsibility and ethical design practices. It explores the challenges and opportunities associated with integrating sustainability into traditional design curricula, emphasizing the need for innovative approaches that blend theory with hands-on application. Through case studies and best practices, this research highlights successful initiatives and projects that demonstrate the effective integration of sustainability into graphic and industrial design education. These examples showcase how incorporating sustainability principles not only enhances the ecological footprint of design processes but also promotes social responsibility and cultural awareness. Overall, this paper contributes to the ongoing discourse on sustainability in design education by offering practical insights and recommendations for educators, institutions, and policymakers. It underscores the transformative potential of integrating sustainability into graphic and industrial design education, envisioning a future where designers play a proactive role in shaping a more sustainable and equitable world.

APA, Harvard, Vancouver, ISO, and other styles

12

Najem, Tayf Mohammad. "Modern Global Art Groups' Effects on Graphic Design." Journal of Asian Multicultural Research for Social Sciences Study 4, no. 1 (April 10, 2023): 75–80. http://dx.doi.org/10.47616/jamrsss.v4i1.378.

Full text

Abstract:

The modern era in defining the features of formal and expressive construction and achieves its functional and aesthetic goals. Hence, the research aimed to clarify the formal and organizational variables of graphic designers and their expressive performance and to compare their impact on the methods of artistic movements in the modern era. The research was based on the descriptive analytical approach of a group of samples, from which it came out with a set of results and conclusions, namely: Modern arts contributed to finding new performance standards for the aesthetic process in design, which was limited to the aesthetics of drawing and its techniques to express it to the techniques of collage and photo montage towards expressive metaphor using previously untouched materials. Achieving the formal organization of the elements with the background, whether through mathematical and engineering logic or as a coincidence industry, led to a transformation in the design process and the emergence of a new spatial relationship that directly affected a clear transformation of the design.

APA, Harvard, Vancouver, ISO, and other styles

13

Glinternik, Eleonora M. "Russian Design Graphics in Art Studies of the 19th–21st Centuries." Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 166–87. http://dx.doi.org/10.21638/spbu15.2023.108.

Full text

Abstract:

The article is devoted to the historiographic problem of domestic design graphics in the history of Russian art. The analysing sources are structured in accordance with the main stages of the development of graphic design in Russia. This approach allows to visually trace the evolution of art history in the context of the corresponding cultural and historical era. In chronological order, the article examines the following periods: 18th — early 20th century, an era that can be called the protodesign period; 1920s–1930s, a period of active development of a new professional model, interrupted for the next twenty years; 1960s–1990s, a period of professional self-determination; the first decades of the 21st century, when the digital age begins and new horizons of research open up. The characteristics of each period are given from the point of view of the development of graphic design as a phenomenon of artistic creativity. The paper’s novelty is determined by the topic itself: the specifics of design in general and graphic design in particular have not yet been studied. It takes into account, basically, the range of problems studied in the Russian conventional history of art. The main tasks of the work: to show the path of development of art criticism in the work of Russian researchers; to systematize the volume and problems of the latest studies of art history over the past decades; to contribute to the formation of a more complete picture of the authors and the amount of accumulated research material. The article shows the path of development of art criticism in the work of Russian researchers — from artistic-critical to historical-theoretical comprehension throughout the 19th and 21st centuries. The foundations of fundamental research of the late 20th — early 21st century are revealed are systematized for the first time.

APA, Harvard, Vancouver, ISO, and other styles

14

Inad Ghazwan, Mutaz. "The Self and its Applications in Graphic Design." Dirasat: Human and Social Sciences 49, no. 1 (August 2, 2022): 471–85. http://dx.doi.org/10.35516/hum.v49i1.1671.

Full text

Abstract:

The self has its own role in possessing tools and engines to build the new idea in art in general and the Graphic Design in particular, and the self is present in the performance and work of the contemporary designer today, especially through the method stemming from the experience, but all of them may be subject to the logic of experimentation and try to descend into the rhetorical arena directed for the sake of Influence in the recipient. So we can ask a question that it would be the issue to discuss in this research;how can the self plays as an actual practicing in the contemporary graphic design with experimentation and practicing?

APA, Harvard, Vancouver, ISO, and other styles

15

Belichko, Nataliia, and Nadiia Marchenko. "GRAPHIC LITERATURE: DEFINITIONS, HISTORY, COMPONENTS." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 29–37. http://dx.doi.org/10.33838/naoma.30.2021.29-37.

Full text

Abstract:

Abstract. The article defines for the first time the concept of graphic literature a special kind of book and magazine graphics, which has become widespread in world art practice over the past century. It emphasizes that graphic literature combines elements of fine arts, literature, and cinema. It reveals the essence of graphic literature in the narrative of history through a sequence of images. It reviews the history of formation and development of this art form in world and Ukrainian art history. It outlines the specific features of graphic literature in certain countries. It gives the names of personalities who influenced its origin and spread around the world. The article is mainly focused on the analysis of the history of graphic literature development in Ukraine. It outlines the contribution of Ukrainian artists of the 20th century to its development. It emphasizes the reasons for the negative attitude to graphic works of literature in Soviet times. It considers in detail the spread of works of graphic literature in Ukraine at the beginning of the 21st century. It names Ukrainian personalities and specialized publishing houses that actively develop modern graphic literature. It outlines the basic structure, some important elements, and technique of graphic works. It emphasizes the similarity of the design of works of graphic and fiction. It reveals the main purpose of graphic literature in the most effective way to convey the main idea of a literary work to the reader and to get him/her interested with the help of visual images. It examines the genre diversity of graphic literature in Ukraine in the last decade. It analyses the dependence of the genres of graphic works on the age restrictions of the readership. It reveals the necessity to further study and analyse such graphic works from the art point of view. Graphic literature combines publications in which the narration is conveyed through hand-drawn and textual images in a certain sequence.

APA, Harvard, Vancouver, ISO, and other styles

16

Suga, Y. "State Patronage of Design? The Elitism/Commercialism Battle in the General Post Office's Graphic Production." Journal of Design History 13, no. 1 (January 1, 2000): 23–37. http://dx.doi.org/10.1093/jdh/13.1.23.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Sutarwiyasa, I. Ketut, I. Nyoman Darma Putra, A. A. Ngurah Anom Kumbara, and Ni Made Wiasti. "CAUSE FACTORS SYMBOLIC RESISTANCE OF GRAPHIC DESIGNERS IN DENPASAR CITY." E-Journal of Cultural Studies 14, no. 3 (August 31, 2021): 1. http://dx.doi.org/10.24843/cs.2021.v14.i03.p01.

Full text

Abstract:

The discourse of "free design" that was introduced by printing companies as a form of strategy in dealing with business competition, has caused controversy in the graphic design field. Indirectly, this discourse is considered to be able to influence the mindset of the community and become a negative stigma against the graphic designer profession, and the discourse is considered to be a threat to the continuity of the graphic designer profession.This study aims to answer the factors that cause resistance. The study data were taken from observation, social media, and interviews, and analyzed using Michel Foucault's power relation theory and Norman Fairclough's theory of critical discourse analysis. Keywords: hidden transcripts, symbolic resistance, graphic designer, free design

APA, Harvard, Vancouver, ISO, and other styles

18

Volkova, Tatiana Vladimirovna, and Irina Mikhailovna Gusakova. "Organization of the study of academic drawing in the artistic and pedagogical training of students." KANT 44, no. 3 (September 2022): 211–19. http://dx.doi.org/10.24923/2222-243x.2022-44.39.

Full text

Abstract:

The purpose of the study is to reveal the features of the organization of drawing training in the artistic and pedagogical training of students. The article discusses the main ways of using short-term graphic sketches in the study of academic drawing. The main difficulties encountered by students in the learning process are noted, and recommendations for their solution are given. Short-term tasks used by us in the process of working with students in drawing classes stimulate compositional thinking, introduce the means, techniques, rules, laws of graphic composition, enable students to competently combine graphic materials. The exercises that we have developed are based on methodological developments in the field of academic drawing of the twentieth century, when eclecticism appeared in the visual arts and teachers of fine arts began to allow students to combine different graphic materials to a greater extent following individual advanced artists of this era. We worked with students of the Design, DPI orientation from 2013 to 2016. Work with students of the Fine Arts orientation in this field began in 2010 and continues to the present. The scientific novelty lies in the development and experimental verification of methodological recommendations, individual aspects of the organization of the study of drawing by future teachers-artists. As a result, the conditions for the organization of drawing training in the performance of practical work by students have been identified, which make it possible to increase the effectiveness of academic drawing and composition classes.

APA, Harvard, Vancouver, ISO, and other styles

19

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Maeroof, Bryar Jalal, and Hakim Osman Hamid. "The Impact of Graphic Design on Media Outlet Messages to Audiences in the Kurdistan Region - NRT as a Case." Journal of University of Raparin 9, no. 5 (December 29, 2022): 641–66. http://dx.doi.org/10.26750/vol(9).no(5).paper31.

Full text

Abstract:

The content of this research is (the impact of graphic design on media outlet messages to the public in Kurdistan Region - NRT as an example).it is practical research that has taken the university lectures of media department, journalists, and graphic designers as Kurdistan Region, this study as big imports for Kurdistan Region, the importance is interpreted in terms of technological development of the era. In kurdistan region, the media agencies have exerted all their efforts to imply the powerful influence on their viewers, listners and readers. Using the varieties of graphic design, the media agencies have tried to have effects on their viewers in terms of meeting the political, economic and social goals.........etc and get benefit from graphic design as a current science development. Media outlets, following significant developments, contribute significantly to the social and political life of communities and have a significant impact on public opinion and political decision-making. If conflicts have already been conducted via military and direct confrontations, these conflicts now are resolved more in the media and through writings, the graphic design is one of the arts types that can be used today to get conflicts to the resolution point. the impact of graphic design on media outlet messages to the public in Kurdistan Region. So, the researcher is in the context of descriptive research by applying the survey tools. At the same time, in the theory, the researcher has relied on the theory of referring to media tools for the public, which is one of the prominent theories in the field of media and special to creating impacts on the audience as one of the ethnic ity of the relationship. That's why, the researcher received the selected the sample for 179 persons including the lecturers of Kurdistan Region universities, journalists, and graphic designers on purpose. For which, the researcher has certainly used the survey analysis form to achieve the research goal.

APA, Harvard, Vancouver, ISO, and other styles

21

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

23

Belko, Tatiana V., and Kristina N. Saushkina. "Folk Art Crafts of Russia and ‘Russian Souvenir’." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 67 (2023): 252–63. http://dx.doi.org/10.37816/2073-9567-2023-67-252-263.

Full text

Abstract:

Folk arts and crafts are part of the national heritage of Russia, a recognized contribution of Russia to world culture. The preservation, revival and development of folk arts and crafts always remain a topical topic of scientific research and the practice of developing souvenir products in the modern world. The paper presents the results of research on Russian folk arts and crafts: classification models have been developed including both text and illustrative materials, taking into account the geographical location of the centers of production of traditional crafts and materials used in the production, processing techniques and decoration of products. The study comes up with the results of testing the method of structural and graphic analysis of the folk art products based on the study of historical experience and the current level of souvenir production in Russia and abroad. It involves the design project “Souvenir from Russia”, which includes a series of wooden spoons: “Cyrillic” (based on the font graphics of Cyrillic writing), “Splint” (fragmentation of splint paintings and characters), “Ivanovo calico” (based on the plot ornaments of fabrics), “Khokhloma” (fragmentation of pictorial motifs and Cyrillic fontography).

APA, Harvard, Vancouver, ISO, and other styles

24

Mones-Hattal, Barbara. "Computer graphics for the arts, computer graphics for the arts, architecture and design." ACM SIGGRAPH Computer Graphics 21, no. 3 (June 1987): 209. http://dx.doi.org/10.1145/378174.378182.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Forster-Garbutt, Eva. "Drawn from Nature: Wallpaper patterns in New Zealand's Schools of Art and Design." Architectural History Aotearoa 20 (December 4, 2023): 46–57. http://dx.doi.org/10.26686/aha.v20.8712.

Full text

Abstract:

Schools of art and design were established in New Zealand from 1870 to foster the development of technical skills in the trades and the creative and decorative arts. These schools flourished throughout the latter two decades of the nineteenth century and the early decades of the twentieth century. Informed by the teachings of the South Kensington School in England, students in New Zealand were instructed in the design of patterns for interior finishes, such as wallpapers, tiles, linoleum and textiles. The blossoming Arts and Crafts movement not only guided the teaching models of these schools, but encouraged students to explore the graphic possibilities of flora and fauna, which in the New Zealand context resulted in original decorative patterns with native motifs. This paper will explore the design of wallpaper patterns by students at the New Zealand schools of art, focusing on those produced between the mid-1880s and the late 1890s. The influence and inspiration for these patterns will be traced, from the Arts and Crafts movement, the teaching methods at schools of art and design, to the natural New Zealand environment.

APA, Harvard, Vancouver, ISO, and other styles

26

Hua, Wang Xiao, Lin Siew Eng, Wu Tong, and Yu Bin. "Developing a Graphic Design Thinking Model to Enhance the Creative Thinking." Academic Journal of Interdisciplinary Studies 12, no. 2 (March 5, 2023): 299. http://dx.doi.org/10.36941/ajis-2023-0050.

Full text

Abstract:

In this paper, based on Bloom's Taxonomy and Double Diamond Model, this study explores to development of the Graphic Design Thinking Model, which involves the knowledge dimension and the cognitive dimension, and it will be used to improve creative thinking for solving problems in relevant design courses. To test this hypothesis, the researcher will measure the effectiveness of this model used in the implementation of design projects and compare the improvement of various indicators of creative thinking. The respondents are 30 students from one university in China majoring in art and design, who were asked to take a pre-test, and a post-test according to the GDT Model in the graphic design course. The researcher has referred to the Torrance Tests of Creative Thinking (TTCT) and used a Likert scale to determine the pre-test and post-test scores in the design projects. The results analyzed by SPSS show that the GDT Model can help students to realize the creation of graphics, significantly improving their creative thinking. Received: 15 December 2022 / Accepted: 26 February 2023 / Published: 5 March 2023

APA, Harvard, Vancouver, ISO, and other styles

27

Yilmaz, Bulent, and Muge Goken. "Virtual reality (VR) technologies in education of industrial design." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 498–503. http://dx.doi.org/10.18844/prosoc.v2i1.336.

Full text

Abstract:

Design is an art and art is a design. Today, all industrial products are the result of a design process. Industrial design is a multi-disciplinary field of study, which has a goal to create and produce new objects and it focuses on designing of products by using knowledge related with applied science as well as applied arts and various engineering disciplines. Academic programs related to industrial design focus on achieving the proper balance between practicality and aesthetic pleasure. Courses may include graphic and industrial design basics, manufacturing, modelling and visualization, environmental and human interaction in design. Computer aided design software are strongly emphasized. Students constantly observe, model and test their creations. They investigate the optimal ways to design virtually any type of products, including computer interfaces, appliances, furniture, transportation and recreational items. The developments of new interactive technologies have inevitably affected to education of design and art in recent years. VR is an interdisciplinary emerging high technology. VR interfaces, interaction techniques, and devices have been improved greatly in order to provide more natural and obvious modes of interaction and motivational elements and it is an integrated technology combining; 3D graphics, human-computer interaction, sensor, simulation, display, artificial intelligence and network parallel processing. This study presents notable VR systems have been developed for education and the methods of design, such as modelling and visualization.Keywords: industrial design, interactive technologies, modelling and visualization, environmental and human interaction, virtual reality

APA, Harvard, Vancouver, ISO, and other styles

28

Sarpong-Nyantakyi, Josephine. "Integrating 21st-Century Industrial Expectation into the HND Graphic Design Curriculum: Linkage with Key Partners for Engagement." Asian Research Journal of Arts & Social Sciences 19, no. 3 (April 6, 2023): 24–34. http://dx.doi.org/10.9734/arjass/2023/v19i3428.

Full text

Abstract:

The nexus between academia and the world of work determines the work readiness of graduates. The purpose of this study is to explore the linkage between the Higher National Diploma (HND) graphic design programme (GDP) and the graphic arts industry. The study utilized qualitative evaluative case studies to gather data from a face-to-face interview and focus group discussions for an in-depth understanding of the phenomenon. Both the purposive and snowball sampling methods were used to gather 30 respondents from faculty members, graduates, and industry-based supervisors of the HND GDP in Accra, Tema, Winneba, Takoradi, and Kumasi. The result of the analysis indicates that the experiences gained by HND GDG are dependent on Competency-Based Education and Training (CBET), the availability of experienced industrial trainers and lecturers for mentorship, modern facilities, teaching, and learning materials such as a cohesive curriculum. The study supports proper collaboration among key stakeholders in the HND GDP for cross-fertilization of ideas, open-mindedness, and receptivity. Therefore, developing trends is the most effective way to improve pedagogic processes.

APA, Harvard, Vancouver, ISO, and other styles

29

Nerozna, Marianna O., Ievgen P. Gula, Mykhailo F. Rudenko, Oksana V. Maznichenko, Oleksandra P. Basanec, and Volodymyr F. Prusak. "Cultural Domain in Development and Validation of Tests on Arts to Assess the Skills of Student Graphic Designers." WSEAS TRANSACTIONS ON ENVIRONMENT AND DEVELOPMENT 18 (January 3, 2022): 1–9. http://dx.doi.org/10.37394/232015.2022.18.1.

Full text

Abstract:

The purpose of the study was to examine whether the presence of items that covered cultural questions in the test оn arts for student graphic designers influenced the fairness of the test across different ethnic and social groups. The reason for the study was to address the gap in the development and validation of tests оn arts that include a cultural domain to assess the skills of undergraduate graphic designers. The research design was based on DIF and DTF methods to examine the factorial structure of test data and to identify whether the factorial structure of the test was the same across ethnic and social groups. A one-factor CFA model was applied to perform measurements for categorised ethnic and social status groups to identify whether the factorial structure was similar or identical for them. The goodness-of-fit measures were calculated using the chi-square statistics, CFI, TLI, and RMSEA to identify how the obtained data is consistent with the hypothesised model. The inclusion of local culture-related questions in the tests оn arts to assess the skills of student graphic designers influences the individuals' latent traits which lead to an increase in DIF values. Though there were detected seven items with the DIF for the whole test, the DTF measurements showed that the DIF effect eliminated each out at test level which is related to the fact the certain ethnic groups performed better in answering some specific test items, while certain status groups performed better in answering some other test items. It is noteworthy that DTF for the Ukrainian art (miscellaneous) section was between 0.07 and 0.14 meaning a moderate DTF effect. However, the DTF variance values for the sections of principles of design and principles of art were lower than 0.07 meaning a small effect. Therefore, it could be concluded that small DTF effects found in both the whole test and each test section separately indicated that DIF effects eliminate each other at the test level.

APA, Harvard, Vancouver, ISO, and other styles

30

Raein, Maziar. "Integration of studio and theory in the teaching of graphic design." Art, Design & Communication in Higher Education 3, no. 3 (December 1, 2004): 163–74. http://dx.doi.org/10.1386/adch.3.3.163/1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Dyachenko, Alla. "Concepts of ethnodesign in the future designers’ training at the artistic higher education institutions." IMAGE OF THE MODERN PEDAGOGUE 1, no. 3 (June 16, 2021): 110–14. http://dx.doi.org/10.33272/2522-9729-2020-3(198)-110-114.

Full text

Abstract:

The article highlights the essence of the concept «ethnodesign». Features of using ethnodesign tools in creative socio-cultural projects of artistic institutions by future and leading designers are considered. The following etnotematics are rethinking: national motives of folk culture, fine and decorative arts, architecture, interest in traditional decoration and colors. The author analyzes the concepts of ethnodesign and the specifics of its use in different time periods. Cosmopolitanism of design solutions and internationality of figurative language make design products understandable for the masses, regardless of religious, national, ideological, etc. Therefore, there is a need for national identity in society, the need to promote the product on the international market as a national brand, there is a rethinking of the reference to cultural heritage. In modern artistic institutions, ethnodesign encourages future designers to engage in creative, research, analytical, and cognitive activities.Modern ethnodesign should successfully combine elements of traditional decorative and applied art solutions, as well as a combination of aesthetically related colorful and graphic properties. Understanding the complexity of national traditions and bold experiments of design students shows the polystylistic variety of author's interpretations in the General line of postmodern ethnic romanticism. The ethnodesign inspires by folk art and ethnic motives. It is applied the stylistic and decorative techniques for folk art and crafts development in interior design, graphic works, landscape design, industrial design, and clothing design. Despite the freedom in global design, the national design space remains an insufficiently formed model of national design, so further development is a priority for Ukrainian design theorists and practitioners

APA, Harvard, Vancouver, ISO, and other styles

32

Benus, Benjamin, and Wim Jansen. "The Vienna Method in Amsterdam: Peter Alma's Office for Pictorial Statistics." Design Issues 32, no. 2 (April 2016): 19–36. http://dx.doi.org/10.1162/desi_a_00379.

Full text

Abstract:

Over the course of the 1930s, the Dutch artist and designer, Peter Alma, produced an extensive body of information graphics. Working for a wide variety of corporate clients seeking to provide social and economic information to general audiences, Alma was one of the principal Dutch practitioners and promoters of the approach to information design known as the “Vienna Method of Pictorial Statistics,” initially developed by the social scientist Otto Neurath and the graphic artist Gerd Arntz. In addition to providing an account of Alma's role in the further development and dissemination of this method, this essay assesses the nature of Alma's contribution to the field of visual education and considers the place of his pictorial statistics production within his broader artistic oeuvre.

APA, Harvard, Vancouver, ISO, and other styles

33

Puspita, Ika, and Sulasfiana Alfi Raida. "Development of Video Stop Motion Graphic Animation Oriented STEAM (Science, Technology, Engineering, Arts, And Mathematics) on Global Warming Materials in Junior High School." THABIEA : JOURNAL OF NATURAL SCIENCE TEACHING 4, no. 2 (December 31, 2021): 198. http://dx.doi.org/10.21043/thabiea.v4i2.11895.

Full text

Abstract:

This study aims to design and produce a stop motion graphic animation video oriented to STEAM global warming material that is used as a learning medium and to determine the response of students at MTs Manbaul Huda Ngaluran Karanganyar Demak to stop motion graphic animation video oriented STEAM global warming material. The research method used is Research and Development (R&D) which refers to the Borg and Gall development procedure. This research includes 7 stages. The trial was carried out after going through a validity test by media experts and material experts. The trial was carried out at MTs Manbaul Huda Ngaluran Karanganyar Demak involving 28 students of class VII. meanwhile, the data analysis technique uses qualitative data from quantitative data for the development of STEAM-oriented video stop motion graphic animation products for global warming material in order to determine the feasibility of the developed media. The results showed that the media was feasible to use based on the percentage of media experts of 92% and material experts of 84.8%, the response of students to stop motion videos was very satisfied based on the results of small-scale trials getting an average score percentage of 96.95% and the test Field trials get an average score percentage of 85.7% which means that the stop motion graphic animation video media oriented to STEAM global warming material can be accepted by students.

APA, Harvard, Vancouver, ISO, and other styles

34

Melnyk, Ivan. "The role of Ukrainian folk ornament in the Art Nouveau graphic: theoretical and applied aspects." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 11–18. http://dx.doi.org/10.37131/2524-0943-2019-41-02.

Full text

Abstract:

Background. The article deals with the basic conceptual foundations of the "Ukrainian style" in the art of the late 19th – early 20th centuries, primarily in the field of searching for actual ways of adaptation and creative rethinking of Ukrainian folk ornament motifs. A special role in this process was played by the use of graphics, whose artistic language has evolved rapidly under the influence of contemporary European styles. However, in the graphic works of Ukrainian artists, the appeal to folk ornamentation was one of several ways of self-identification with the national artistic tradition, so the practice of integrating those ornamental motifs into the book and magazine illustration was a significant component of the creative work of many artists during that period. Objectives. This paper aims at defining the role and importance of Ukrainian folk ornament in the modern (art nouveau) graphic, based on consideration of theoretical and applied aspects of the use of ornamental motifs, their creative comprehension by graphic artists of different regions of Ukraine. Methods. In this article we rely on art historian methods and general scientific methods, such as analysis and synthesis, analogy and system analysis to outline the features of several variants of the "Ukrainian style", representing different regional differences. Comparative analysis, methods of systematization and typology were used to reveal the peculiarities of the transformation of ornamental motifs under the influence of the individual manner of each artist and to present the theoretical background of the folk ornament usage, including concepts of the development of "Ukrainian style" in the visual and decorative arts. Results. This article outlines several concepts of the use of Ukrainian folk ornament motives, elaborated by Ukrainian artists in the beginning of 20th century, period, which chronologically corresponds with the time of the paneuropean expansion of the art nouveau style. We can name an independent research of S. Vasylkivskyy, that allowed him to understand the artistic language of the Ukrainian ornament of different historical periods, and allowed the development of complex projects of interior design for new buildings. His projects demonstrate a harmonious synthesis of the traditions of folk art of the Dnieper Ukraine and Slobozhanshchyna (including specimens of paintings, carpets, ceramic tiles). Instead, V. Krychevs’kyy more often appealed to the ornamentation of Ukrainian weaving, while the main sources of decorative motifs for him were the ancient manuscripts, engravings and applied art of the Hetmanate. O. Slastion also addressed the study of the semantics of ornaments and their function in the system of folk art and culture in general. At first, he applied his own ideas in the projects of decoration of new buildings, constructed at the end of the XIX century in Poltava region, and later focused on the problem of updating the language of Ukrainian graphic art. The genre differentiation of graphic arts actually accelerated the separation of the Ukrainian voice from the general eclectic Russian-imperial culture. The area through which this process could gain more momentum was an art postcard, which at that time became one of the catalysts for the formation of new communication standards in cities and towns. Popular authors in this specialization were A. Zhdakha, O. Slastion, S. Vasylkivskyy, who gave impetus to the main line of development of Ukrainian graphic design of "small forms" at an early stage of its formation. It is interesting to compare different author's approaches to the practice of incorporation and stylizing ornamental motifs – for example, M. Sosenko uses a much more extensive range of primary sources, among which not only is available local material (Ukrainian Carpathians' applied art, handwriting book of the 16th–17th centuries), but also folk art crafts of the Dnieper Ukraine and Slobozhanshchyna and at the same time he modernizes them under the influence of the secessionist style. During the early stages of the art nouveau development in Halychyna (1897–1907), which researchers call ornamental, book and magazine graphics, architecture, and fine arts became the areas where new trends emerged very fast. This process was facilitated by the similarity of artistic language in the works of graphics, monumental and decorative arts, in particular the use of sections of local color, subordinated to a clear linear pattern, which is perceived as a kind of outline for the main elements of the image. The ornamental motifs in the art of secession were interpreted as peculiar symbols – in the Ukrainian version of this style the ornamentation of folk art, especially the local Hutsul tradition, becomes especially important. Conclusions. An important part of the strategy of national art revival of the late 19th – early 20th centuries was the introduction of ethnographic motifs to contemporary works of art. Architecture and graphics have undeniable advantages over other art genres in the sense of rapidly spreading the language of the new Ukrainian style to the widest audience possible. A special place was given to the printed postcards, the authors of which – both famous and anonymous artists, addressed primarily ethnographic topics. It is also important that, regardless of the specifics of regional variants of art nouveau, the practice of introducing ornamental motifs, plots and the images of Ukrainian folk art, re-imagined in more modern way, was a significant factor in asserting national identity, and was aimed at developing a universal artistic language.

APA, Harvard, Vancouver, ISO, and other styles

35

Garner, Steve. "Comparing graphic actions between remote and proximal design teams." Design Studies 22, no. 4 (July 2001): 365–76. http://dx.doi.org/10.1016/s0142-694x(00)00042-9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Perez, Iana Uliana, Lucas Furio Melara, José Carlos Magro Júnior, and Mônica Moura. "Contemporary Design in Quarantine: a Critical Review of Design Responses to Covid-19 Crisis." Strategic Design Research Journal 13, no. 3 (December 23, 2020): 327–41. http://dx.doi.org/10.4013/sdrj.2020.133.03.

Full text

Abstract:

The following article aims to analyze Brazilian and international cases of design responses to the COVID-19 pandemic related crises. It initiates with reflections about the social and political roles of design, emphasizing the importance of social innovation, design activism, and transition design to contemporary design. The methodological approach adopted is qualitative and quantitative with assessment and selection of data based on the bibliographic, desk, and documentary research methods. The result of 113 mapped cases is presented by graphic synthesis and discussed through the bibliographic research.

APA, Harvard, Vancouver, ISO, and other styles

37

BOWDEN, GARY. "Reconstructing Colonialism: Graphic Layout and Design, and the Construction of Ideology." Canadian Review of Sociology/Revue canadienne de sociologie 41, no. 2 (May 2004): 217–40. http://dx.doi.org/10.1111/j.1755-618x.2004.tb02179.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Brednyova, V. P. "MODERN METHODOLOGICAL MEANS OF TEACHING GRAPHIC DISCIPLINES FOR FIRST-YEAR STUDENTS." Regional problems of architecture and urban planning, no. 17 (October 17, 2023): 354–60. http://dx.doi.org/10.31650/2707-403x-2023-17-354-360.

Full text

Abstract:

In today's complex social conditions, significant changes are taking place in the system of domestic higher education. High-quality graphic training of graduates of higher educational institutions has been a pressing problem for many decades, so it is necessary to systematically update the existing methodological base and develop effective forms of training. As you know, drawing is the international language of architects and engineers. Working with flat images of spatial objects requires students to have developed spatial thinking already in the first year. In .this study, detailed attention is paid to the review and analysis of existing methodological approaches to the teaching of important classical sections of the discipline "Descriptive Geometry". The trends of improving teaching under the condition of distance learning are also considered, which helps future specialists of creative specialties to increase the level of individual competitiveness in modern market conditions. The purpose of the research is to determine and improve modern methodological tools for teaching graphic disciplines of students of the first course of creative specialties. Our study is related to the scientific research work "Improving the organization of the educational process using distance learning methods and teaching methods of graphic disciplines for students of construction and architectural and art specialties based on the competence approach", which is carried out on the basis of the Department of "Descriptive Geometry and Engineering Graphics" Odessa State Academy of Construction and Architecture (OSACEA) for many recent years. The work uses theoretical and empirical research methods: analysis, classification and synthesis of research base sources, many years of personal teaching experience; diagnostics of students specializing in 191 Architecture and Urban Planning and 023 Fine Arts (observations, monitoring the quality of teaching, self-analysis, etc.). Graphic competencies are very significant for a graduate’s future professional activity, which gives freedom in the creative implementation of the entire design process from the birth of an idea to its implementation.

APA, Harvard, Vancouver, ISO, and other styles

39

Leake, Laurel Lynn. "Pull quote." Studies in Comics 13, no. 1 (November 1, 2022): 199–204. http://dx.doi.org/10.1386/stic_00077_1.

Full text

Abstract:

Pull quote was originally published in CBA #56&57: Uncomics, a collection of works guest-edited by Allen Haverholm meant to ‘unmake’ comics. This unusual prompt challenged me to almost entirely drop text, representational imagery, and narrative and embrace abstraction instead. My goal was to create a sequence of pages with echoes of comics structures like panels and gutters and that can still be ‘read’ even without a strict left-to-right and up-to-down format. I began this comic by lightly tracing the underlying shapes in magazines called page architecture – pictures, headers, articles, ads, etc. – and used them as a foundation for coloured pencil and marker abstractions. This led to unexpected images that shook me out of my usual style. This interestingly abstract ‘readability’ allows readers to drift through Pull quote taking in the soft, melting forms on the pages in their own ways – maybe as physical spaces, tangible objects or simply flat colours. The title comes from the term for short quotes that editors pluck from an article and feature as attention-grabbing headers or graphics. Print magazines have a certain visual architecture that is unique to the medium, and tailored to different genres and purposes and that language has been proliferated through ‘western’ graphic design in general. But all these design choices are usually invisible to the reader, existing to move us smoothly through an article from beginning to end (including the ads). Although I took these unseen shapes and let them take centre stage, my process does not result in neat, legible graphic design. Instead, it produces chaotic tangles of organic and angular forms that cannot be easily organized by the eye. Even if the reader does not know about the tracing process I used or the meaning of the title, I think it resulted in abstractions with a nagging sense of familiarity and that evoke some of the information overload of contemporary life.

APA, Harvard, Vancouver, ISO, and other styles

40

Tan, Stella, Gavin Melles, and Nicolette Lee. "Graphic designers' activities during the conceptual design phase of client-initiated projects." Art, Design & Communication in Higher Education 8, no. 1 (September 1, 2009): 85–92. http://dx.doi.org/10.1386/adch.8.1.85_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Frascara, Jorge. "Revisiting “Graphic Design: Fine Art or Social Science?”—The Question of Quality in Communication Design." She Ji: The Journal of Design, Economics, and Innovation 8, no. 2 (2022): 270–88. http://dx.doi.org/10.1016/j.sheji.2022.05.002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Lawrie, Samantha. "We have a lot to talk about: dialogue journals in graphic design education." Art, Design & Communication in Higher Education 3, no. 2 (September 1, 2004): 81–88. http://dx.doi.org/10.1386/adch.3.2.81/0.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Iswandi, Heri, and Husni Mubarat. "Pelatihan Seni Grafis Menggunakan Teknik Cukil Guna Meningkatkan Keterampilan Mahasiswa di Palembang." Lumbung Inovasi: Jurnal Pengabdian kepada Masyarakat 8, no. 4 (December 1, 2023): 870–86. http://dx.doi.org/10.36312/linov.v8i4.1521.

Full text

Abstract:

Pendidikan seni rupa dan desain juga merupakan bagian dari ilmu yang mempunyai manfaat yang sangat besar bagi kelangsungan hidup manusia. Pada hakikatnya pembelajaran seni rupa lebih ditekankan pada pembentukan skill yaitu dapat menghasilkan sebuah produk atau karya seni. Maka dari itu penulis beserta tim pengabdian mencoba untuk memberikan pelatihan seni grafis dengan menggunakan teknik cukil kepada mahasiswa di Kota Palembang. Adapun tujuan dari kegiatan pelatihan ini merupakan salah satu upaya perwujudan untuk meningkatkan keterampilan bagi mahasiswa agar dapat menjadi generasi yang memiliki ilmu dan keterampilan serta memiliki peran untuk meningkatkan kesejahteraan bagi masyarakat. Pelatihan seni grafis menggunakan teknik cukil melibatkan sebuah sanggar seni bernama Bekucak Artwork Painting Palembang sebagai mitra yang sudah banyak membantu untuk menyediakan bahan dan alat untuk keperluan praktek pada pelatihan, serta turut mengidentifikasi calon peserta yang akan ikut dalam pelatihan tersebut. Adapun metode yang digunakan pada kegiatan pelatihan ini adalah Sosialisasi, demonstrasi, praktikum, bimbingan dan metode evaluasi. Adapun hasil dari pelatihan ini memberikan pengetahuan serta pengalaman terhadap semua peserta, diantaranya adalah pengetahuan terkait bahan dan alat yang digunakan dan penerapan teknik dengan mempraktekannya secara langsung. Mulai dari pembuatan sketsa, memindahkan sketsa pada media cetakan hardboard, proses pencukilan pada media hardboard, dan yang terkahir yaitu proses mencetak pada media kertas dengan menentukan jumlah atau banyaknya edisi yang akan dicetak. Pengetahuan dan pengalaman yang diperoleh mahasiswa di Palembang selama pelatihan seni grafis, tentunya menjadi modal berharga untuk membuka usaha mandiri di bidang industri kreatif. Graphic Arts Training Using Cutting Techniques to Improve Student Skills in Palembang Fine arts and design education is also a part of science that has enormous benefits for human survival. In essence, fine arts learning places more emphasis on skill formation, namely being able to produce a product or work of art. Therefore, the author and the service team are trying to provide graphic arts training using the gouge technique to students in the city of Palembang. The aim of this training activity is one of the efforts to improve students' skills so that they can become a generation that has knowledge and skills and has a role in improving the welfare of society. Graphic arts training using the gouge technique involves an art studio called Bekucak Artwork Painting Palembang as a partner who has helped a lot in providing materials and tools for practical purposes in the training, as well as identifying potential participants who will take part in the training. The methods used in this training activity are socialization, demonstration, practicum, guidance and evaluation methods. The results of this training provide knowledge and experience for all participants, including knowledge regarding the materials and tools used and the application of techniques by practicing them directly. Starting from making a sketch, transferring the sketch to hardboard printing media, the cutting process on hardboard media, and finally the process of printing on paper media by determining the number or number of editions to be printed. The knowledge and experience gained by students in Palembang during graphic arts training is of course valuable capital to open an independent business in the creative industry.

APA, Harvard, Vancouver, ISO, and other styles

44

Oliinyk, Viktoriia, and Arkadiy Boltenkov. "Ways to Improve the Assimilating Efficiency of the Graphic Editors’ Functionality (On the Materials of the Training Course on the Discipline "Computer Technologies in Design")." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 276–90. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246853.

Full text

Abstract:

The purpose of this research is to systematize and present the acquired in the process of personal teaching effective teaching methods and techniques, as well as meaningful conclusions in the context of the course “Computer Technology in Design” for its optimization. Research methodology. The research is based, first of all, on the author’s remarks and observations on the peculiarities of mastering by students of the speciality “Graphic Design and Advertising” of the Kyiv National University of Culture and Arts the functionality of graphic editors. That is, among the scientific methods in the preparation of the article were used methods of observation, experiment, comparison, classification, systematization, scientific analysis. Scientific novelty. The study has found that the current model of teaching computer science to designers focused on the study of graphic editors needs to be improved and updated in the context of current trends in computer design. Therefore, taking into account the existing shortcomings, it was proposed to optimize the training approach in four main positions: study of digital art terminology; working out of technical receptions; combination of basic artistic principles with program functionality; education of analytical qualities in students (graphic image analysis). Thus, all volume of the tasks directed on working off of technical receptions in combination with basic art bases is classified into three categories according to their maintenance: algorithmic tasks (the result is predicted); creative tasks (the result is variable, unpredictable); combined tasks (the result is variable). The practical block of tasks for studying graphic editors Adobe Photoshop and Adobe Illustrator for 1–2 years students, successfully tested during the educational process during 2018–2021, is reflected in the table, and the relevant analytical conclusions are presented in the form of infographics. Conclusions. As it was proved in the course of the research, it is the accumulated teaching experience in the context of theoretical substantiation that can experimentally help to determine a quality educational model. As a result, it was possible to systematize the effective teaching methods and techniques acquired during personal teaching, to present a successfully tested set of tasks, as well as to formulate theses on optimizing the educational model in the context of the “Computer Technology in Design” course.

APA, Harvard, Vancouver, ISO, and other styles

45

Leelayudthyothin, Mittheera. "Effects of Logo Design toward Brand Personality Perception: A Study of Logo Elements in Real Estate Business." Strategic Design Research Journal 15, no. 1 (September 5, 2022): 80–89. http://dx.doi.org/10.4013/sdrj.2021.151.08.

Full text

Abstract:

The topics of logo design perceptions have been examined among academic scholars recently. However, elements of logo as one aspect of logo designs were rarely studied and required to be investigated. This research aimed to measure the effects of logo elements comprising type font, graphic form, and color toward brand personality perceptions, as well as to explore the relationship between business stakeholders and brand personality. In addition, logo design meaning and brand personality traits including sincerity, excitement, security, and up to date were evaluated toward logo elements. Two hundred and sixty-five samples were selected using convenience sampling from employees and residents of Thai property developers. The mix method approach was employed for the data collecting through interviewing and questionnaire survey and analyzed by Chi-square tests. The findings reveal that logo design transfers all-inclusive meaning to viewers, encompassing name, graphic, and color interpretation. Besides, there is a connection between logo elements and perception of brand personality, but in order to obtain one salient dimension of brand personality, exhibiting the whole logo was suggested rather than individual element of logo. Furthermore, brand personality was considered vital among market sharing property industry which personality of sincerity was chiefly perceived when stakeholders appreciate a logo of their real estate brands.

APA, Harvard, Vancouver, ISO, and other styles

46

Grigg, Jenny. "Materials and tools as catalysts of invention in graphic design ideation." Design Studies 70 (September 2020): 100960. http://dx.doi.org/10.1016/j.destud.2020.100960.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

de la Cruz, L. Arturo, and G. Mauricio Mejía. "Reflective didactic strategy to integrate semiotic theory and creative practice in graphic design education." Art, Design & Communication in Higher Education 16, no. 1 (April 1, 2017): 83–97. http://dx.doi.org/10.1386/adch.16.1.83_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Lawrie, Samantha. "Graphic design: can it be something more? Report on research in progress." Art, Design & Communication in Higher Education 6, no. 3 (May 19, 2008): 201–7. http://dx.doi.org/10.1386/adch.6.3.201_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Elkilany, Elsayed Abdelwahed, and Wael Yousef. "Cultivating Creativity of Graphic Design and Multimedia Students: The Perceptions of Arab Faculty and Experts." SAGE Open 11, no. 4 (October 2021): 215824402110581. http://dx.doi.org/10.1177/21582440211058198.

Full text

Abstract:

While a consensus has emerged on the importance of creativity in graphic design and multimedia field, little systematic research has attempted to understand its facilitators or inhibitors in the graphic and multimedia education across colleges and universities. The current investigation surveys a sample of experts as well as professors teaching across the Arab World concerning their perceptions on the most significant correlates of creative thinking among students. Results point to the importance of: (1) instructors’ engagement; (2) appropriate use of instructional strategies, tools, and resources; (3) institutional support; (4) peer support; and (5) the removal of red-tape regulatory frameworks. Most importantly, this research highlights the need to move away from the rigid higher education creativity model assuming perfection, precision, accuracy, and optimal effectiveness to a more flexible creativity framework. The Multi-Layered Autonomous Phases Model (MLAPM) is proposed as an alternative approach to cultivating creativity at the higher education level. The MLAPM applies to all levels beginning with the students and the instructor in the classroom and all instructional tools applied, moving upward to the institutional administration levels. The model offers cost-effective, flexible, dynamic, and effective practices that improve levels of creativity and creative thinking among students without the need to invest in new costly equipment, tools, curriculum, or instructional programs.

APA, Harvard, Vancouver, ISO, and other styles

50

Yılmaz, Ayça, and Suzan Duygu Erişti. "Visual - perceptual inquiry based on social design on social media: The example of migration and culture." Journal of Human Sciences 20, no. 1 (January 16, 2023): 26–43. http://dx.doi.org/10.14687/jhs.v20i1.6335.

Full text

Abstract:

The purpose of this study is to present the visual arts teachers and future designers who take the graphic design required program courses in the education department of fine arts education, their views and product evaluation in the process of social media and social design projects that are very important in their field. I In the study, only one of the sub-themes selected under the title of social design was focused on, in this context, an reserach was conducted on the topic of “Migration and Culture”. This study was designed based research on design and was carried out in the spring of 2020-2021 academic year in Anadolu University Faculty of Education Department of Fine Arts Education and Graphic Design Required Program Courses. The study data was collected during the spring period of 2020-2021 academic years during the course and exam period of 16 weeks. In the study, participant observation, focus group interviews, semi-structured interviews, student products, researcher and student diaries, video and audio recordings of lectures were used as qualitative data collection tools. The data of the study were analyzed by multiple and different analysis methods in the form of thematic analysis, descriptive analysis, product-based analysis due to the long-lasting and in-depth nature of the design-based research and has benefited from the program of NVivo12. Within the scope of the findings of the study, it can be said that the opinions of visual arts teacher candidates in the process of social media and social design-oriented studies, which are very important in their fields, have gained the gains that the study wants to gain and put forward products in the direction. Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet Bu çalışmanın amacı, eğitim fakültesi güzel sanatlar eğitimi bölümü grafik anasanat atölye derslerini alan görsel sanatlar öğretmen adayları ve geleceğin tasarımcılarının, alanlarında çok önemli olan sosyal medya ve sosyal tasarım odaklı çalışmaları sürecindeki görüşlerini ve ürün değerlendirmesini ortaya koymaktır. Çalışmada sosyal tasarım başlığı altında seçilen alt temalardan sadece bir tanesine odaklanılmış, bu bağlamda “Göç ve Kültür” konusu üzerinden bir inceleme yapılmıştır. Tasarım tabanlı olarak desenlenen bu çalışma, 2020-2021 eğitim öğretim yılı bahar döneminde Anadolu Üniversitesi Eğitim Fakültesi Güzel Sanatlar Eğitimi Bölümü Grafik Anasanat Atölye dersleri kapsamında gerçekleştirilmiştir. Araştırma verileri 2020-2021 eğitim öğretim yılı bahar döneminde 16 haftalık ders ve sınav süreci boyunca toplanmıştır. Çalışmada veri toplama aracı olarak katılımcı gözlem, odak grup görüşmeleri, yarı yapılandırılmış görüşmeler, öğrenci ürünleri, araştırmacı ve öğrenci günlükleri, derslerin video ve ses kayıtları gibi nitel veri toplama teknikleri kullanılmıştır. Araştırmanın verileri ise tasarım tabanlı araştırmanın uzun süren ve derinlemesine incelenen doğası gereği tematik analiz, betimsel analiz, ürün temelli analiz şeklinde çoklu ve farklı analiz yöntemleriyle çözümlenmiş ve NVivo12 programından faydalanılmıştır. Çalışmanın bulguları kapsamında görsel sanatlar öğretmen adaylarının alanlarında çok önemli olan sosyal medya ve sosyal tasarım odaklı çalışmaları sürecindeki görüşlerinin çalışmanın kazandırmak istediği kazanımları edindiği ve yönde ürünler ortaya koyduğu söylenebilmektedir.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'DESIGN / Graphic Arts / General'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles