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Journal articles on the topic "Graphic art used as advertisements"
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Zantides, Evripides. "Visual Metaphors in Communication: Intertextual Semiosis and Déjà Vu in Print Advertising." Romanian Journal of Communication and Public Relations 18, no. 3 (January 25, 2017): 65. http://dx.doi.org/10.21018/rjcpr.2016.3.216.
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<p>Metaphor, as a concept in which a signified is applied to a signifier that is not literally applicable, does not only refer to speech or verbal language, but also to a wide use of practical applications in visual communication, particularly in advertising design and communication. The metaphorical rhetoric in advertisements is a common practice often used to attract the viewers’ attention, as well as enhance the persuasiveness of messages. From a cognitive perspective, semiosis in the process of visual metaphors in communication, is a complex subject with often a variety of subjective interpretations on behalf of the viewers. Intertextuality, as another form of metaphoric communication that depends on pre-existing</p><p>texts (verbal or non-verbal), produces meanings that often deal with parody, sarcasm or irony. Additionally, they are also frequently characterised as anarchistic and provocative, because of the anti-advertising or anti-consumerism/social statements they make.</p><p>The current study aims to present a literature review on how visual metaphors are defined in printa dvertising, and build on this to examine the notion of intertextuality as a form of déjà vu-metaphor that is popular in advertising and graphic communication.</p><p>Semiotic analysis as a methodology is used on a purposive sample of print advertisements—including examples of logotypes as well—in order to categorize thematically the major typological references, in respect of intertextual advertising, as well as extract ideological conclusions.</p><p>The results show that intertextuality in advertising draws its sources of meaning mainly from the Film industry, Art, Monuments and places, Literary texts and Graphic and Advertising itself, whilst, as far as logos is concerned, the source of meaning is purely linguistic. The study also shows that Intertextual visual metaphor semiosis has a variety of popular verbal or non-verbal references and depends on the socio-political context of the sample under investigation.</p>
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PİLİCİ, Elanur. "POSTMODERN REKLAM AFİŞİ TASARIMI." IEDSR Association 6, no. 11 (February 24, 2021): 329–42. http://dx.doi.org/10.46872/pj.245.
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The history of the art of graphic design and posters goes back to cave drawings during the Stone Age. Graphic design and posters are based on social needs and change in different stages of social development. They are now enjoying one of the apexes of their development. The art of graphic and poster design which developed and evolved in the historical and social development process, has taken on new dimensions during the transition from the modern to the postmodern period in accordance with the needs of our society of consumption and by using the technical/technological tools and methods within this period. In particular, the invention of the printing press, lithography, and the Industrial Revolution have led to great leaps in the art of graphic and poster design as in all other areas of life. Computer and digital technologies that were first developed in the middle of the 20th century almost brought about a revolution in the art of graphic and poster design. These great breakthroughs caused technical and technological innovations and changed the art of graphic design. While education in graphic design acquired an institutional dimension, its aims and objectives were transformed. Discussions of postmodernism, new forms of relationship, concepts and schools are reflected in the art. Relationships between postmodernism and graphic design, poster styles categorized as postmodern and advertising culture have caused new debates. Advertisements and advertising posters have acquired new forms to meet the needs of today’s consumer society, which are getting more and more complex. Its dynamics have changed posters and advertising. This study discusses the evolution of the art of graphic and poster design within the whole historical and social development process, its dimensions, postmodernism and striking examples of postmodern advertising posters.
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Krotova, T. F., A. M. Osadcha, T. V. Struminska, and I. M. Ryabinova. "ARTISTIC AND GRAPHIC DESIGN OF ADVERTISEMENTS OF THE LATE XIX – EARLY XX CENTURY (BASED ON THE MATERIALS OF THE KYIV CALENDARS)." Art and Design, no. 2 (August 11, 2021): 41–51. http://dx.doi.org/10.30857/2617-0272.2021.2.4.
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Aim: to explore the means of artistic and graphic design of advertisements in periodicals of the late nineteenth – early twentieth century. Methodology. The historical, analytical, iconographic methods have been used in the research; the methods of formal, figurative-stylistic, and comparative analysis have been used for analyzing the samples of advertisements. Results. The analysis of advertisements of periodicals "Kyiv Calendar" of 1989 and "Kyiv Zemsky Calendar and reference book for 1911" is presented in the work in terms of artistic and graphic means (composition, fonts, stylistic features of fonts, images, the nature of images, graphic decorative elements) and terms of tools influencing consumer motivation. Advertisers have been found to use a variety of fonts, highlighting company and institution names, creating messages with textual information only, and combining text with an image to give a potential customer an associative view of the product. Logos and trademarks in this period in the published messages are almost not observed, the companies provided information with the name of the product, the name of the owner, and address. Scientific novelty. Abilities of print advertising at the end of XIX – the beginning of the XX centuries have been analyzed, the means of artistic and graphic design of advertisements and tools of influencing motivation of potential consumers have been revealed. Practical significance. The revealed peculiarities of artistic and graphic design of advertisements in periodicals of the end of XIX – beginning of XX centuries based on the materials of the Kyiv calendars provide an idea of the approaches and capabilities of artists and printing houses in creating advertising forms for the promotion of goods and services in the market. The analyzed samples of advertising introduce the variety, names, and characteristics of goods and services of the analyzed period.
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Гула, Є. П. "СУЧАСНИЙ ГРАФІЧНИЙ ДИЗАЙН: СПЕЦИФІКА ІНТЕГРАЛЬНОЇ ПРИРОДИ ТВОРЧОСТІ." Art and Design, no. 3 (November 13, 2020): 25–33. http://dx.doi.org/10.30857/2617-0272.2020.3.1.
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Purpose. To study the features and peculiarities of defining the main definitions of the concept of graphic design, to define the scope of application of various types of graphic art as a design object. Methodology. General scientific research methods, analytical, typological, semantic and comparative analysis – for the terminological definition of the conceptual apparatus of graphic design and the definition of its theoretical and art applications. Results. Based on the analysis of scientific sources on modern foreign and Ukrainian graphic design, generalized aspects of interpretation of the concept of graphic design, evaluated its historical origins in Ukraine. The issue of differentiation of graphic design and many areas of graphic design as a type of artistic activity has been updated. The scientific novelty consists in identifying trends in the transition of the terminological apparatus of industrial design to the sphere of graphic design. It has been established that the synthetic creative nature of graphic design provides for creative activity on the use of modern means of information transfer in combination with the traditions of graphic art of Ukraine. Practical significance. Modern scientific definitions of graphic design have been summarised. It has been determined that the synthetic creative nature of graphic design provides for creative activity on the use of modern means of infrmation transmission in combination with the traditions of graphic art of Ukraine. The results can be used in teaching graphic design, project graphics and other graphic disciplines.
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Regar, Ahmad Rokhi. "MOTION GRAPHIC ADVERTISING FOR LIL HAJJ WAL UMROH PROMOTION." Arty: Jurnal Seni Rupa 9, no. 2 (August 18, 2020): 123–27. http://dx.doi.org/10.15294/arty.v9i2.40327.
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Dewangga Lil Hajj Wal Umroh in the face of market competition, requires a promotional media with a high level of appeal for its target segmentation, and is able to represent the theme of the pilgrimage properly. Therefore we need a promotional media in the form of Motion Graphic ads. The design of this promotional media advertisement aims to create a promotional media in the form of Motion Graphic advertisement for Dewangga Lil Hajj Wal Umroh, with a persuasive message to increase Dewangga Lil Hajj Wal Umro's customers. The method of making the work of this study project includes five stages: (1) Preparatory / Prelimenary (Research of the Client, Determination of the target audience, and placement of the media); (2) Funding (Material, production, display); (3) Pre Production (Selection of production equipment, making concep art, making storyboards); (4) Production (Creating character assets and environments, moving objects / animatting, dubbing and sound effects, audio and video editing); (5) Post-production (DVD burning, exhibition). The results of this study project were two Dewangga Lil Hajj Wal Umroh Motion Graphic Ads. Work I has a duration of 1 minute 10 seconds with 9 scenes. Work II is 43 seconds long and has 10 scenes. Both of these advertisements have 1280 x 720 px video format.
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Tarasova, K. P. "GENESIS OF PRINTED ADVERTISEMENTS AS A SPECIFIC GENRE (CASE STUDY OF XVIII–XX CENTURY RUSSIAN NEWSPAPERS)." Bulletin of Kemerovo State University, no. 2 (August 3, 2018): 225–30. http://dx.doi.org/10.21603/2078-8975-2018-2-225-230.
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The paper features the genesis of printed advertisements as a specific genre with Russian newspapers as its main source. The research is focused on the historical period from early 18 to early 20 century. The article traces the gradual separation of the genres of advertisements and announcements in the course of the centuries. It points out and describes the key periods in the development of the genre: mid 18th century, 1840s, late 19 – early 20, 1930s. The article contains special linguistic and graphic features of advertisements and explains various language and psychological manipulation means, which appeared in the 19th century in Russian newspapers and are still used in the modern advertising. According to the article, the main factor in identification of advertisements as a separate group from announcements is the intention to influence on readers’ opinion according to the salesman’s goals. All the conclusions are confirmed by examples from original sources.
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Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA." Jurnal Budaya Nusantara 3, no. 1 (October 23, 2019): 46–51. http://dx.doi.org/10.36456/b.nusantara.vol3.no1.a2114.
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Conventional Graphic Art is understood by academics through the history of its development.The Chinese nation is thought to have started the tradition of print as the forerunner of graphicart in its 'primitive' era, while the Romans began etching-glass techniques for portraying gladiators.Furthermore, the Japanese in the 8th century had begun their first authentic print by tracing andprinting Buddhist faces. When the Europeans used it as a printing technique as a medium forartistic expression, the word "printmaking" emerged, which was later adopted by the field of artuntil now. Later the graphic arts were increasingly used to reproduce various human needs. Inearly 1900 the Dutch introduced the technique of Graphic Printing in education at the BandungTechnical College is now the Bandung Institute of Technology. History and development ofIndonesian Graphic Arts in history began at Institute of Technology Bandung (ITB) as the firstacademic provider of formal education in the Department of Fine Arts, then now a Faculty ofFine Arts and Design (FSRD) of ITB. Conventional Graphic Printing Techniques become oneof the main areas of interest, the Graphic Arts Studio of the Fine Arts Department, then becamethe Fine Art Study Program and the Graphic Art Printing Technique until now is still the mainarea of interest and subject matter in the curriculum of the FSRD ITB Fine Arts Study Program.
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Dziczek-Karlikowska, Hanna. "The implications and purpose of using international phonetic symbols and English advertising slogans in advertisements in Poland." Scripta Neophilologica Posnaniensia, no. 18 (February 7, 2019): 151–63. http://dx.doi.org/10.14746/snp.2018.18.14.
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This paper examines the various implications resulting from the use of English phonetic transcription in advertising in Poland. I focus on the problem of the use of phonetic transcription by copywriters as a graphic form and I make an attempt at showing that this technique can have pedagogical consequences, because a graphic form in which phonetic symbols are used is, in fact, a text message, not an image only. In addition, I analyze selected advertisements as a means of communication addressed to a specific recipient. In this case, I demonstrate that the use of advertising slogans in English and English phonetic transcription in Poland, does not guarantee that such advertising is effective.
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Adi, Sigit Purnomo. "Pemanfaatan Kolase dengan Media Kertas dan Plastik Bekas Dalam Karya Monoprint Yang Ramah Lingkungan." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 11, no. 1 (November 28, 2019): 70–75. http://dx.doi.org/10.33153/brikolase.v11i1.2668.
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ABSTRACTThe use of used plastic and used paper to produce an alternative in the use of media in the process of visual processing specifically graphic artwork, this step is one of the efforts to save the environment with the help of art. By utilizing used goods, mostly used paper, plastic will not directly reduce the damage caused by plastic and paper materials. Paper and plastic are explored as sustainable media, while graphic art works are not only an aesthetic realm, but seniors as a way to provide awareness and care will discuss the environment. This creation uses monoprint and collage techniques as techniques for exploration and ideas in the art process.
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Winczek, Katarzyna, and Jerzy Winczek. "The ecological techniques and materials in artistic graphic art." E3S Web of Conferences 44 (2018): 00188. http://dx.doi.org/10.1051/e3sconf/20184400188.
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In the paper, against the background of art and ecology associations, formerly and today, modern ecological techniques and materials used in artistic printmaking have been presented. The considerations were related to the culture of past centuries and searching for the threads of ecological thought in philosophy, religion or art. The development of ecological thinking in European art is traced from the Middle Ages to modern times. The trends, concepts and methods of environmental graphics are characterized in the context of development and research of these methods in the world and in Poland. The basic techniques of ecological intaglio (etching, soft varnish, aquatint, chipping, photopolymer techniques and electrolytic etching) are discussed. Alternative materials and procedures were proposed based on literature and authors’ own research. The advantages and benefits of using these techniques in ecological and workshop aspects were analyzed.
Books on the topic "Graphic art used as advertisements"
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PhillySound, ed. Project H.O.M.E. Benefit (flier, Highwire Gallery reading, PhillySound blog, J.E. Tenenbaum '06). Philadelphia, PA: PhillySound, 2006.
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Tenenbaum, Jeremy Eric. Flier: Philly Free School: Highwire Gallery, Philadelphia: 11-30-2004: (Literature/Music/Depravity). Manayunk, Philadelphia, Pa: Philly Free School, 2004.
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Tenenbaum, Jeremy Eric. P.F.S. Presents @ Big Jar Books (Olde City). Philadelphia, PA: Jeremy Eric Tenenbaum/P.F.S., 2006.
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Tenenbaum, Jeremy Eric. Philly Free School @ Highwire Gallery (11-30-04). Philadelphia, PA: Jeremy Eric Tenenbaum/P.F.S., 2004.
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Gallery, Highwire. Interior: Highwire Gallery, Gilbert Building, Center City Philadelphia. Philadelphia, PA: Highwire Gallery, 2004.
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Tenenbaum, Jeremy Eric. Flier: Toiling in Obscurity reading, Philadelphia, J.E. Tenenbaum '08. Manayunk, Philadelphia, Pa: Jeremy Eric Tenenbaum, 2008.
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Tenenbaum, Jeremy Eric. Project H.O.M.E. Benefit: July 29, 2006 (Flier): (multi-media extravaganza). Philadelphia, PA: Philly Free School, 2006.
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Helfand, William H. Quack, quack, quack: The sellers of nostrums in prints, posters, ephemera & books ; an exhibition on the frequently excessive & flamboyant seller of nostrums as shown in prints, posters, caricatures, books, pamphlets, advertisements & other graphic arts over the last five centuries. New York: The Grolier Club, 2002.
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Club, Grolier, ed. Quack, quack, quack: The sellers of nostrums in prints, posters, books & ephemera : an exhibition on the frequently excessive and flamboyant seller of nostrums as shown in prints, posters, caricatures, books, pamphlets, advertisements, and other graphic arts over the last five centuries. New York: Grolier Club, 2002.
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Helfand, William H. Quack, quack, quack: The sellers of nostrums in prints, posters, ephemera & books : an exhibition on the frequently excessive and flamboyant seller of nostrums as shown in prints, posters, caricatures, books, pamphlets, advertisements & other graphic arts over the last five centuries. New York: The Grolier Club, 2002.
Find full textBook chapters on the topic "Graphic art used as advertisements"
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Lieber, Sven, Ben De Meester, Ruben Verborgh, and Anastasia Dimou. "EcoDaLo: Federating Advertisement Targeting with Linked Data." In Semantic Systems. In the Era of Knowledge Graphs, 87–103. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-59833-4_6.
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Abstract A key source of revenue for the media and entertainment domain is ad targeting: serving advertisements to a select set of visitors based on various captured visitor traits. Compared to global media companies such as Google and Facebook that aggregate data from various sources (and the privacy concerns these aggregations bring), local companies only capture a small number of (high-quality) traits and retrieve an unbalanced small amount of revenue. To increase these local publishers’ competitive advantage, they need to join forces, whilst taking the visitors’ privacy concerns into account. The EcoDaLo consortium, located in Belgium and consisting of Adlogix, Pebble Media, and Roularta Media Group as founding partners, aims to combine local publishers’ data without requiring these partners to share this data across the consortium. Usage of Semantic Web technologies enables a decentralized approach where federated querying allows local companies to combine their captured visitor traits, and better target visitors, without aggregating all data. To increase potential uptake, technical complexity to join this consortium is kept minimal, and established technology is used where possible. This solution was showcased in Belgium which provided the participating partners valuable insights and suggests future research challenges. Perspectives are to enlarge the consortium and provide measurable impact in ad targeting to local publishers.
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Wamuyu, Patrick Kanyi. "Social Media Consumption Among Kenyans." In Advances in Social Networking and Online Communities, 88–120. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4718-2.ch006.
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Despite the growing popularity of social media among Kenyans, there is limited baseline data on the consumption of these platforms by different Kenyan communities based on demographics such as age, gender, education, income, and geolocation. The study set out to fill this gap through a baseline survey on social media consumption in Kenya. The study used a mixed-method approach, involving a survey of 3,269 respondents and 37 focus group discussions. The social media platforms in use are WhatsApp, Facebook, YouTube, Instagram, LinkedIn, and Snapchat. However, the use of social media differs by demographics. Kenyans use social media for entertainment, education, jobs, politics, sports, and social issues. Most Kenyans access social media using phones for 1-3 hours daily. Motivations for using social media include the acquisition of information, entertainment, and social interactions. Most social media users have experienced fake news, cyberbullying, and bombardment with graphic images of sex and advertisements. Kenyans consider social media to be addictive, expensive, and time-wasting.
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Aririguzoh, Stella Amara. "The Art of Deception in Political Advertising." In Advances in Media, Entertainment, and the Arts, 349–74. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8535-0.ch019.
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Television advertising is a growing important aspect in presidential electoral campaigning. It accounts for a big part of the electioneering expenses. Presidential political advertisements are important sources of information to voters. Their messages may influence poll results. Using a content analytical method, this study examined 12 of the presidential campaign advertisements created for ex-president Goodluck Jonathan and his People's Democratic Party (PDP); and the opposition coalition flag bearer, Retired General Muhammadu Buhari and his All Progressives Congress during the 2015 Nigerian presidential election campaigns. The aim of this study was to identify the deceptions in these advertisements. This study found that both sides engaged in deceptive advertising. Buhari/APC engaged more in misinformation, lies, misrepresentation and spreading of unproven facts. Goodluck/PDP avoided misrepresentations and misinformation, but used lies, unproven assertions and pufferies. It is recommended that campaign advertisements be scrutinized before they are aired.
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Cipolla-Ficarra, Francisco V., and Valeria M. Ficarra. "Art, Future, and New Technologies." In Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability, 280–93. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4490-8.ch026.
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The authors present the first results of a heuristic evaluation of online content and the social networks that allows the detection of the manipulators of the mass media communication, the universities, and the research centers in the Iberian Peninsula. They present the strategies used in a technique of heuristic evaluation called CASTE – Computer Art, Software, and Technology Evaluation. Finally, a first graphic is presented that shows the results of applying CASTE and the manipulating extension in other territories of the disguised research business in art and new technologies.
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Fridkin, Kim L., and Patrick J. Kenney. "Reactions to the Civility and Relevance of Negative Advertisements." In Taking Aim at Attack Advertising, 82–101. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190947569.003.0005.
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The findings presented in chapter 5 indicate people recognize and make distinctions about the relevance and civility of negative advertisements. Focus group respondents rated advertisements aired in the 2014 senatorial campaigns in ways consistent with the assessments made by the content analysis coders. This finding helps validate the content analysis findings. In addition, state-of-the-art software is used to measure people’s real-time emotional reactions to different negative advertisements aired during the 2014 Senate elections in a second focus group. The results of the emotions analysis reveal that people vary in their emotional reactions to different types of negative messages. Consistent with the tolerance and tactics theory of negativity, people have strong negative reactions to attack advertisements focusing on irrelevant topics compared to messages emphasizing useful topics. Findings also show people’s level of tolerance for incivility influences their emotional responses to negativity.
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Johnson, Dorothy. "Visceral visions: art, pedagogy and politics in Revolutionary France." In Bellies, bowels and entrails in the eighteenth century, 294–310. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526127051.003.0015.
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In late eighteenth-century France, at the seeming height of neoclassicism in the arts with its goal of idealized form al’antica in the depiction of the human figure, an intensified fascination with the visual experience of viscera emerged. Picturing viscera became increasingly common in visual culture. These developments occurred during a period of intense political and cultural upheaval and concomitant violence and bloodshed in France. Graphic anatomical plates, prints, and caricatures as well as wax models of viscera cast from the body parts of corpses, were used for pedagogical instruction as were écorché figures, either sculpted or cast from cadavers. Paintings were made that engaged the subject of death and disembowelment. We also see the actual participation in dissection by artists as well as anatomists. Artists, anatomists, and amateurs (sometimes working in concert) produced compelling images of what lies beneath the skin for a variety of purposes and functions.
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Kooistra, Lorraine Janzen. "Victorian Women Wood Engravers: The Case of Clemence Housman." In Women, Periodicals and Print Culture in Britain, 1830s-1900s, 277–300. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474433907.003.0018.
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In this essay, Lorraine Janzen Kooistra explores the career of an important yet neglected artist whose work in the illustrated press deserves more concentrated attention. From 1885 to 1895, Clemence Housman (1861–1955) worked as an engraver for the Graphic (1869–1932), but by the mid-1890s there was little work in the trade since most papers were converting to systems of photomechanical reproduction. She then transitioned to fine-art wood engraving in the book trade, producing several exquisite titles in collaboration with her brother Laurence Housman, including The Were-Wolf (1896). She continued working the field until the 1920s, eventually producing her masterpiece, an engraving of James Guthrie’s ‘Evening Star.’ The trajectory of her career not only demonstrates how new reproductive technologies altered women’s work in the periodical press over the course of the nineteenth century but also reminds us of the thousands of other women who contributed to this industry but have been largely overlooked in press history. Indeed, as Janzen Kooistra’s essay makes clear, women were not just the subject matter or intended audience for periodical advertisements and illustrations; they were actively engaged in the production of the images that proliferated throughout the Victorian illustrated press.
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Sainz, César González. "Dating Magdalenian Art in North Spain: The Current Situation." In Palaeolithic Cave Art at Creswell Crags in European Context. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199299171.003.0018.
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The graphic activity of Magdalenian human groups forms the most spectacular part of the archaeological record in Cantabrian Spain and, at the same time, represents probably the most expressive aspect of the culture of those Upper Palaeolithic hunters. Since the early 1990s, several projects have tried to fix more precisely the chronology of the cave art through the application of radiocarbon dating by Accelerator Mass Spectrometry (Valladas et al. 1992, 2001; Moure Romanillo and González Sainz 2000; Fortea Pérez 2002). The present article attempts an integrated discussion of the results of the absolute chronology for Magdalenian cave art and the present situation of the most reliable parallels between this and the mobile art of the same period. It is well known that the ordering in time of cave art is rather more complex than that of decorated objects, which are dated by their archaeological context (and therefore both this context and the artefacts themselves can be dated by radiocarbon). In Cantabrian Spain, the approaches to dating cave art, especially for the Magdalenian depictions, are the series of superimpositions known on certain walls of a few caves, the analogy with stratified mobile art, and absolute dating, essentially for this period, radiocarbon dating by accelerator. Other procedures, such as the correlation with stratigraphic sequences, offer good results in pre-Magdalenian periods (Fortea 1994), but are limited in the period that interests us here to just a few cases, such as Cueva del Mirón, in relation with some rather modest depictions (González Morales and Straus, 2000). 1. Series of superimposed figures of different kinds have often been described, on panels in a limited number of cave sites. In Cantabrian Spain, the main examples are found in the caves of La Peña del Candamo, Tito Bustillo, Llonín, Altamira, El Castillo, La Pasiega, and La Garma Lower Passage—in other words, the main cave art centres, repeatedly used over long periods in the Upper Palaeolithic. These sites tend to differ quite clearly from the other cave art sites, which are more or less synchronic internally (they have a much lower number of depictions which, above all, are more homogeneous in style and techniques).
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Annovi, Gian Maria. "Self-Portrait." In Pier Paolo Pasolini, 105–24. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231180306.003.0005.
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Pasolini’s less well-studied paintings and drawings, particularly his self-portraits, are the subject of chapter Four. I provide new critical and theoretical perspectives on his visual work and follow its development in parallel with Pasolini’s other creative endeavors, interpreting them as one way of delineating an public authorial performance. I analyze Pasolini’s drawing as wounded self-portrait, that is the graphic manifestation of a torn self-image, produced by the violent clash with society. In Chapter Four, I also look at Pasolini’s relationship to abstract art, focusing on the parallels between his cinema and his experimentation with materials and forms in painting. Challenging the common notion of Pasolini’s hatred for modern art, I argue that in his portraits and self-portraits, he actually used abstraction to deform or disfigure the self, as a result of the pressure of history and society. Finally, in this chapter I consider some of Pasolini’s photographic portraits as a part of his authorial self-fashioning, and as a necessary component of his multimedia practice and his authorial performance during the last phase of his career.
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Teukolsky, Rachel. "Decadence." In Picture World, 348–407. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859734.003.0007.
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Chapter 6 looks to the end of the nineteenth century to study the rise of the artistic advertising poster. Posters were mass-produced, disposable, and advertised commodities like cocoa and the circus. But they also starred in major art exhibitions in London and Paris and were attacked for their “decadent,” avant-garde styles. In fact, posters offer surprising insight into the Decadent Movement, which is usually associated with 1890s literary authors like Oscar Wilde and Joris-Karl Huysmans. The chapter shows how decadence manifested in visual media, including the advertising poster. Though decadence typically connotes aristocratic nostalgia, it was in fact reacting to a new, middle-class consumer culture of which it was very much a part. The graphic designer Aubrey Beardsley used decadent visual styles to create advertising posters, shocking critics while successfully marketing consumer goods. As posters became metaphysical symbols of commercial modernity, some feared that they presaged imminent cultural decline.
Conference papers on the topic "Graphic art used as advertisements"
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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.
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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
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Karlovits, Igor. "Lignocellulosic bio-refinery downstream products in future packaging applications." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p2.
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The concept of efficient utilisation of renewable bio-based materials (biomass feedstock) is the driving force in the green transformation to a more sustainable and circular society. Biorefineries or biochemical platforms convert and utilise different sources of biomass into fuels and other beneficial derivates like fibres and other bio-based chemicals. These can be used as building blocks for many potentially useful applications. In this review, we shall describe the current state of the art and trends in the conversion of lignocellulosic feedstock into materials which can be primarily used in packaging applications. The three main constituents (cellulose, hemicellulose and lignin) are being re-engineered into new products with higher added value. The main goal of all these downstream products is that they do not compete with animal feed and food applications. The main downstream products of different kind of transformations are different natural fibres which can be further processed into micro or nano fibrillated state and used for a broad application of fields from ink, adhesive and packaging materials. Also, fibres and its derivates can be bonded successfully into bio-composites or fibre-based foams applications for the protective packaging applications. Hemicellulose, as a second most abundant component, has been researched for applications in adhesives and paper and paperboard coatings. Lignin which is currently utilised as an energy source for the paper industry, has been recently actively researched. Lignin-based biopolymers have a potential to be used in many different applications from additives in the barrier coatings on the packaging to active packaging and even as lignin-based foams. All these applications are currently in the development stages and cover niche market segments, but are expected to grow and to be used in future markets.
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Lakićević, Milena, Ivona Simić, and Radenka Kolarov. "Designing parterres on the main city squares." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p66.
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A “parterre” is a word originating from the French, with the meaning interpreted as “on the ground”. Nowadays, this term is widely used in landscape architecture terminology and depicts a groundlevel space covered by ornamental plant material. The designing parterres are generally limited to the central city zones and entrances to the valuable architectonic objects, such as government buildings, courts, museums, castles, villas, etc. There are several main types of parterres set up in France, during the period of baroque, and the most famous one is the parterre type “broderie” with the most advanced styling pattern. Nowadays, French baroque parterres are adapted and communicate with contemporary landscape design styles, but some traits and characteristics of originals are still easily recognizable. In this paper, apart from presenting a short overview of designing parterres in general, the main focus is based on designing a new parterre on the main city square in the city of Bijeljina in the Republic of Srpska. The design concept relies on principles known in the history of landscape art but is, at the same time, adjusted to local conditions and space purposes. The paper presents the current design of the selected zone – parterre on the main city square in Bijeljina and proposes a new design strongly influenced by the “broderie” type of parterre. For creating a new design proposal we have used the following software AutoCad (for 2D drawings) and Realtime Landscaping Architect (for more advanced presentations and 3D previews). The paper provides detailed graphical representations for a new design proposal and explains the main design ideas and guidelines which can be applied even when designing parterres in the other urban space. Besides that, the paper lists the plant material that is suitable for establishing and maintaining parterres in the urban environment.
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Todorova, Dimitrina, and Nevena Pavlova. "Investigation on the printability of specialty papers for luxury labels." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p6.
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Specialty luxury label papers mainly are results from the search for all that stimulates our creativity and senses. They are from papers that awaken the desire to create, as a magnificent mix of texture and colours that elevates luxury packaging to the category of art and a brilliant collection that ultimately shows that luxury packaging really is. In order to achieve the desired complex effect on the customer with its combined impact through the texture, colour of the paper and graphic design for each manufacturer of luxury labels, it is undoubtedly essential to be familiar with the printability of the paper used. The aim of the present work was to study the main properties of the commonly used papers for printing of self-adhesive labels, in view of their printability. It is especially important for the production, as well as for the awareness of the designers working in this field, to know the specifics of these papers, to know the main indicators influencing their printability, to know all the facts allowing the right choice of printing technology and finishing processes. To achieve this goal, various properties of five types of paper have been determined: structural-dimensional, physical-mechanical, capillary-hygroscopic and optical. In addition, with all paper analysis, a printing sample have been made with different types of printing (offset UV, flexo UV, screen, cold foil, hot foil, silk foil) and converting (emboss, laser cutting, laser engraving) techniques. Based on the obtained results, new designer labels for wine have been printed. The results show that there is a clear dependence between the paper composition, its main and specific properties and the quality of the different printing and finishing processes, as well as the overall appearance of the produced labels. The printing and finishing processes have been carried out in Rotoprint Printing House, Bulgaria and the obtained results could give a valuable information not only for the particular printing house, but for other specialists in the field of labels production.
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Hudika, Tomislav, Tomislav Cigula, Mihaela Žličarić, and Maja Strižić Jakovljević. "PCL-TiO2 nanocomposite to improve ageing of offset prints." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p10.
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UV radiation or sunlight can affect the printed sample by fading the ink surface and therefore the product losses it's decorative purpose and becomes less desirable to the customer. To create the efficient protective coating, titanium dioxide (TiO2) will be used as a well-known compound that should lower the effects of UV radiation. TiO2 should lower the colour fade after UV radiation and this will be determined by densitometric and colorimetric (CIE L*a*b*) measurements. In addition, measurement of print gloss will also be conducted to evaluate visual appearance of the sample. Biopolymer Polycaprolactone (PCL) was the base of the PCL-TiO2 composite in which TiO2 nano sized. To determine influence of the amount of TiO2, three composites were prepared by adding different weight ratio of the TiO2. The prepared nanocomposites were then applied onto the offset prints on gloss art print paper and on the uncoated paper. The results have shown that TiO2 coating does affect ink’s density, colorimetric properties and print gloss after initial coating. The change in chroma due to the accelerated ageing is most visible on yellow ink, cyan and magenta proved to be the more stable. Accelerated ageing caused change in the L* of black. On all colours, increase of the TiO2 weight ratio improved resistance of colour to change. Coated gloss paper was more resistant to density change where uncoated had lower change in chroma. It could be concluded that TiO2 has the ability to protect the prints in the measured time interval but it has to be noted that concentration of the TiO2 particles also causes colour difference and must be observed when defining composure of the nanocomposite.
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Ozcan, Arif. "New approaches in smart packaging technologies." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p1.
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Customer expectations have changed due to the developing technology and changing and improving product variety. This has led the printing industry, the packaging sector in particular, to grow considerably. The food industry along with the increasing need to preserve food long periods of time have led to the need to develop methods that preserve the freshness and safety of food products during their shelf-life. For this reason, attention was paid to packaging systems to facilitate food processing, preserve food quality, extend shelf-life, and prevent the food from spoiling. Thanks to these systems, packaging went beyond being a simple barrier outside the food, and has also taken upon roles of releasing protective agents or removing unwanted matter. Microbial growth is one of the most important factors that cause food to spoil. Although the problem has previously been tried to be solved by heating, drying, fermentation, freezing and adding antimicrobial agents, there are limitations, especially when used with fresh food. Today, a new generation of technologies have been introduced to monitor the condition of products with a tiny sensor or label placed onto the packaging. Smart packaging is a packaging material that not only improves the basic functions of a product, but also responds to stimuli around this product. Smart packaging in general, has two main categories, namely intelligent packaging and active packaging. This study will examine the concept of smart packaging that has emerged due to increased competitiveness, digital interaction and consumer awareness, changes in consumer behaviour and expectations, and improved interest in product safety. As a result, it is obvious that state-of-the-art smart packaging, which can connect to the Internet and has many channels of interaction, will bring about new business models and create new customer experiences and will replace conventional packaging, which has no interactions, in the near future.
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Cretu, Ovidiu, Mark Gabel, and Vlad Cretu. "Project Risk Based Estimate and Management." In ASME 2010 Power Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/power2010-27047.
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The paper presents the use of Risk Based Estimate (RBE) process and Risk Based Estimate Self-Modeling (RBES) eliminating the need of specialized software by allowing a regular MS Excel users to develop an integrated cost and schedule estimate with limited knowledge of risk analysis. The RBES offers the flexibility of entering: • The base project cost and schedule with different degrees of uncertainty associated with them; • Independent risks with both components: cost and duration; • Sophisticated risks which are dependent on each other and/or correlated. • Specific escalation rates for Real Estate acquisition, Preliminary Engineering (PE), and Construction (CN). • Risk response actions so that a “post-mitigated” analysis can also be conducted. Model outputs include graphs (Histograms and Cumulative Distribution Functions), and tables that present the project cost estimate range in current year dollars, and year of expenditure dollars for the three main phases of project delivery (PE, Real Estate, CN); RBES model output also includes the estimated ranges for the Advertisement date, and the End Construction date. In addition the RBES produces tornado diagrams of the most significant cost and schedule risks, and the risks map in order to help the project risk management efforts.
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Cretu, Ovidiu S. "Cost and Schedule Estimate: Risk Analysis for Transportation Infrastructures." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-12804.
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This paper presents the Risk-Based Estimate Self-Modeling (RBES) which eliminates the need of specialized software by allowing a regular excel user to develop an integrated cost and schedule estimate with limited knowledge of risk analysis. The RBES has the flexibility of entering: • The baseline project cost and schedule along with the different degrees of uncertainty associated with them. • Simple independent risks with their cost and duration components. • Complex risks which are dependent of each other and/or correlated. The RBES integrates project cost and schedule when the project delivery goes as planned with up to 24 risks events. Each risk may have two components (cost, and schedule) and the RBES may compute the effect of risk dependency and risk correlation with respect to project cost and schedule. The outcome of the RBES consists of graphs and tables that present the project cost in current year dollars, and year of expenditure dollars plus the advertisement date, and the end construction date. Additionally, the RBES generates the following summary information: A tornado diagram of the most significant cost and schedule risks, A risk matrix for each of the 24 risks; and a risk map in order to help the management to quickly assess all project risks so that they may initiate the appropriate risk response actions.
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Cangioli, Filippo, Paolo Pennacchi, Andrea Vania, Steven Chatterton, and Phuoc Vinh Dang. "Analysis of the Dynamic Behavior of Two High-Pressure Turbines for the Possible Detection of Rub Symptoms." In ASME Turbo Expo 2016: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/gt2016-56627.
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Physical contact between the rotor and stationary-elements is a main topic in the field of rotordynamics. In the last decades, many studies have investigated the causes and the consequences of this phenomenon; the so-called ‘rub’, resulting in several theories and mathematical models. Muszynska characterized the rub from a phenomenological point of view in different conditions, both steady-state and transient; her studies laid the foundations and inspired research in the following years in many universities and research centers. State-of-the-Art methods permit to recognize, in a simple way, the rub during machine operating condition but in spite of the amount of studies, it is still difficult to prevent the occurrence of rubbing. This paper focuses on identifying what are the forerunner symptoms of rubbing without attach specific attention to the rub and even to the consequences on the machine behavior. The authors investigate how to prevent the occurrence of rub by detecting its symptoms by means of analysis of the vibration and of the diagnostic data. For this purpose, the conventional graphic tools are used: Bode plot, polar plot, cascade plot, waterfall plot, centerline plot, time-based plot etc. The dynamic behavior of two high-pressure steam turbines, which have been damaged by a physical contact between the rotor and a stationary part, is analyzed. In order to investigate the evolutionary trend of the vibration for possible rub detection, a new graphic tool was developed by the authors. This work is born thanks to an industrial interest about the identification of evidences in the dynamic behavior of the forthcoming rub. The data are available in three different sets of measurements, for both the high-pressure turbines. The data cover a quite long period but they are not available during the rubbing. It must be noticed that the rub has occurred, for both turbines, immediately after a trip of the machine, so it is not excludable, a priori, that the cause of the trip has not been the same cause of the rubbing.
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He, Dongxiao, Wenze Song, Di Jin, Zhiyong Feng, and Yuxiao Huang. "An End-to-End Community Detection Model: Integrating LDA into Markov Random Field via Factor Graph." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/794.
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Markov Random Field (MRF) has been successfully used in community detection recently. However, existing MRF methods only utilize the network topology while ignore the semantic attributes. A straightforward way to combine the two types of information is that, one can first use a topic clustering model (e.g. LDA) to derive group membership of nodes by using the semantic attributes, then take this result as a prior to define the MRF model. In this way, however, the parameters of the two models cannot be adjusted by each other, preventing it from really realizing the complementation of the advantages of the two. This paper integrates LDA into MRF to form an end-to-end learning system where their parameters can be trained jointly. However, LDA is a directed graphic model whereas MRF is undirected, making their integration a challenge. To handle this problem, we first transform LDA and MRF into a unified factor graph framework, allowing sharing the parameters of the two models. We then derive an efficient belief propagation algorithm to train their parameters simultaneously, enabling our approach to take advantage of the strength of both LDA and MRF. Empirical results show that our approach compares favorably with the state-of-the-art methods.