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1
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.
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Torto, Richard T. "Aristotelian Rhetorical Theory as a Framework for Analyzing Advertising Texts in the Print Media in Ghana." Theory and Practice in Language Studies 10, no. 3 (March 1, 2020): 269. http://dx.doi.org/10.17507/tpls.1003.02.
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Advertisements are fashioned in diverse forms, but in most of them, language is absolutely essential. Although visual images, graphic and color designs and other techniques constitute aspects of print advertising, it is the language of the advertisement that enables consumers to identify a product and remember it. Indeed, language has a powerful influence on readers and their behavioral patterns. The English Language is employed in the print media in Ghana as a means of communicating information about goods and services with the goal of persuading the consuming public to take purchasing decisions. In the current article, I applied Aristotle’s Rhetorical Theory to the analysis of persuasive elements in the English used in advertisements in Ghanaian newspapers. The qualitative research design was employed in the study as the corpus was solely from written documents. The findings of the study demonstrated that copywriters in the Ghanaian print media employed Aristotle’s three artistic proofs, namely, logos, pathos and ethos in the English of advertisements for persuasive effect.
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Park, Hyejin, Min-Young Hong, In-Seon Lee, and Younbyoung Chae. "Effects of Different Graphic Health Warning Types on the Intention to Quit Smoking." International Journal of Environmental Research and Public Health 17, no. 9 (May 7, 2020): 3267. http://dx.doi.org/10.3390/ijerph17093267.
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Anti-smoking advertisements are widely used to demonstrate to smokers the harm of smoking, and graphic health warnings (GHWs) are expected to have a positive effect on the intention to quit smoking. This study investigated which type of GHW (health-related threat (H-GHW) vs. social threat (S-GHW)) is more effective. Two types of GHWs for tobacco were shown to 28 daily smokers and 25 non-smokers while measuring their eye movements using an eye tracker. The time spent fixating on the GHWs was measured as an index of attentional bias. Participants were also asked to evaluate the unpleasantness of the images. They stated their intention to quit smoking in response to each image in a separate session. Multiple regression analysis was used to identify the effects of psychosocial factors on the intention to quit smoking in smokers and the intention to remain as non-smokers in the non-smokers. Both smokers and non-smokers reported greater unpleasantness and cessation intentions in response to H-GHWs than to S-GHWs. Non-smokers found both types of GHWs more unpleasant than smokers did. No differences were found in gaze fixation on GHWs between the two groups. When smokers viewed S-GHWs, the intention to quit smoking was greater as they felt more unpleasant. For non-smokers, the intention to remain non-smokers was greater when they felt more unpleasant and when the attention to H-GHWs was lower. Different psychological factors in anti-smoking advertisements are involved in the intention to quit smoking in smokers and to maintain a non-smoking status in non-smokers. Different approaches should be used according to the types of warning (e.g., warnings emphasizing a negative influence on others or on their own health) in anti-smoking campaigns.
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Adir, Victor, Nicoleta Elisabeta Pascu, and George Adir. "A study about the advertisements and pictorial posters of WWI and WWII." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 70–75. http://dx.doi.org/10.18844/prosoc.v7i4.5773.
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In this paper, we have tried to evoke the propaganda episode in the First and the Second World Wars (WWI and WWII). It is a small part of our study including only research about images, characters, messages and words (title and text) used to create a mobilising movement of the people during these wars. The purpose was to select elements from the advertisements and pictorial posters and to comment upon the impact of the graphic messages included. During our work, we have identified many interesting things which had the target to mobilise one person against another using graphics and words with a strong patriotic message. This paper presents the interpretation for only a few posters and advertisements (about 48), but relevant for war propaganda.
Keywords: WWI, WWII, propaganda, war, symbols, image, words
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Dundure, Inese, and Diāna Apele. "GRAPHIC DESIGN OPPORTUNITIES FOR INTEGRATED APPROACH IN MUSEUMS IN REPRODUCTION OF ART TREASURES." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 384. http://dx.doi.org/10.17770/sie2018vol1.3375.
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Latest tendencies in museum accessibility, both in the world and in Latvia, show that the social status of museums is changing from a cultural institution for a narrow circle of interested persons to a meeting place open to society, accessible both intellectually and physically to different social groups. The research aim is to study the opportunities for the use of graphic means to disclose and give access to the collection of artistic property of Latgale Culture and History Museum (LCHM) to persons with vision impairment. With the information summarised, the authors invite to use the opportunities of graphic design and technologies in the creation of art reproductions, making the graphic image of the painting perceptible by touch, i.e. tactile, and thus accessible to persons with visual impairment. The novelty of the research on the scale of Latvia will be a supplement of tactile images to the album of the collection of art reproductions of LCHM, which includes tactile graphic images and corresponding descriptions in Braille for persons with vision impairment. At this stage of the research, empirical methods were used – interview and practical activity.The aim of the research: Study and research graphic design opportunities for the integrated approach in museums in the reproduction of existing art property to ensure its accessibility to persons with vision impairment, analyse the needs of the visually impaired in cooperation with societies and organisations in Latvia and design a scheme of practical activities for persons with vision impairment.
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Atasoy, Seda Nur. "The Latest Trends in Graphic Design: Handmade Typographic Posters." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 29, 2017): 335–42. http://dx.doi.org/10.18844/prosoc.v4i11.2892.
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Modern art and design movements such as Art Nouveau, Art Deco and international Typographic Style emerged in Switzerland in the 1950s have been a major influence in the development of modern posters language. Today, this contemporary orientations are being developed and dealt with in a different dimension.Typography in posters is used within the image or the typographic elements themselves coming together and converting into a visual form. The failure of the image of the poster to convey the desired message quickly and dramatically, not to observe the spaces in the use of typographic elements, to pass in front of the image with the color of the font used, lack of simplicity may be mentioned as many problems that can be replicated. However typography is not only the gap between characters, text font and color. It is the conformity of letters with the design applied. It is the art of representing the work with letters. And in this representation designers have made different attempts to find the most accurate and newest and were directed to handmade posters in their search.In this research, basis of the problems of the orientation to the hand-crafted typographic posters which is a different quest spreading rapidly today and reasons pushing the designer to this new quest were examined and in the light of obtained findings, examples of typographic posters in new quests made by designers were presented. Keywords: handmade typography, typographic problem in posters, experimental typography.
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Solovei, Oles. "FEATURES OF THE BOOK GRAPHICS OF NIKOLAI STOROZHENKO OF THE 1958–1970S." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 142–48. http://dx.doi.org/10.33838/naoma.28.2019.142-148.
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The article considers specific features of the book graphic arts of Mykola Storozhenko of the 1958– 1970s, and also investigates and analyzes the stylistic and compositional features of individual works in the context of evolution of his own artist’s style. At the current time, the subject of the book graphic arts of Mykola Storozhenko remains understudied in Ukrainian art, and the problem of the artist’s creativity in the period of the 1958–1970s has not been practically investigated. Mykola Storozhenko’s book graphic arts, like his monumental works, make a significant contribution to Ukrainian art, and therefore require deep and well-grounded study. By using the method of comparative, formalistic and compositional analysis of the works of Mykola Storozhenko’s book graphic arts of the 1958–1970s, the article reveals the approach of the artist to the form and sculpturesque means of visual and graphic arts as the factors of the experimental space. On the example of illustrative series of works of the certain period it is shown that all means of artistic expression are directed by the artist to create a coherent, emotional and metaphoric space. The issues of visual perception, aesthetic influence and artistic self-sufficiency of each individual illustration were put by the master in a number of priorities, at the level of issue of whole book design.The article emphasizes that Mykola Storozhenko directed the search for new technologies and techniques ofwork in traditional and rarely used graphic arts techniques to create an original, expressive in style of publication, with maximum compliance with the content and contemporary art form.The author considered Mykola Storozhenko’s book graphic arts of the 1958–1970s in the broader art historical context of the stylistic landmarks of his age and issues of his own self-identification.As a result of the study, the author of the article proves that all the means of artistic expression, stylistic and compositional features of each of the stages of Mykola Storozhenko’s creativity in the field of book graphic arts of the 1958–1970s are organic components of the process of evolution of the artist’s own style.All materials of this analytical study are quite important in theoretical and practical application directly in the creative process: to improve the curriculum of composition, as well as an auxiliary methodological material for students of creative specialties and student — art experts.
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Pascu, Nicoleta Elisabeta, Victor Adir, and George Adir. "Art and logo design." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 81–86. http://dx.doi.org/10.18844/prosoc.v7i4.5792.
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This paper aims to present a research study concerning the graphics and symbols in logo design exhibited in an art program dubbed ‘Golden Ages of Art Nouveau and Art Deco’. It was important for us to understand these trends, their characteristics and graphics, to create many times beautiful masterpieces of art. We have noticed a lot of differences between these two art movements related to symbols, signs and colours which were used. It was ‘a special art travel’ to study, theoretically and practically, the field of logo design connected to these ages. Starting from our research study, we have tried to make ‘a basket’ of features which characterises each trend. We have tried to explain the diversity of elements used as an art graphic design focused on logos. And, of course, we have tried to create logos using the features of Art Nouveau and Art Deco.
Keywords: Art Nouveau, Art Deco, logo design, feature, symbols, colours.
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Nemtchinova, Elena E., Stepan A. Popov, Yuri N. Kepa, Daria Yu Ermilova, and Nadezhda B. Lyakhova. "Memphis patterns in graphic design." LAPLAGE EM REVISTA 7, Extra-D (July 21, 2021): 427–33. http://dx.doi.org/10.24115/s2446-622020217extra-d1123p.427-433.
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The purpose of this work is to study the theory of Memphis patterns use, as well as the use of elements of ornamental art in graphic design, which are extremely relevant in modern design. The Memphis pattern trend in modern graphic design requires in-depth analysis. Why is the specificity of the means of expressing Memphis patterns associated with the requirements of today’s effective communication? This study examines the techniques of the artistic language of the Memphis pattern and its expressive means. The analysis of the used ornamental elements is carried out. The connection between the Memphis and the neo-geo styles of their artistic techniques, which are based on the ornaments of the past, is outlined. The study notes that a person at all times is connected with their past and their ideas about beauty are returning today in new forms of digital technologies. The provisions of the study are of methodological value for understanding the current trends in graphic design.
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Donaldson, Cathy. "The ‘other’ pictures: stock photography in graphic design libraries." Art Libraries Journal 29, no. 3 (2004): 32–36. http://dx.doi.org/10.1017/s0307472200019040.
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Student graphic designers want fast, easy and cheap access to high-resolution images. As well as using the image-rich art books in their libraries, these students can now use stock photography: those images of cute children, attractive couples, active seniors, funky pets, and preternaturally fresh fruit, plants and flowers that are used to communicate, influence, and sell something, somewhere, to someone.
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Elkheshen, Gamal ElDin. "Digital Revolution and Ideologies of Thought and Creativity in Graphic Arts." Journal of Art & Architecture Research Studies - JAARS 1, no. 1 (June 21, 2020): 157–71. http://dx.doi.org/10.47436/jaarsfa.v1i1.27.
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What the scientific tide and digital revolution presented of methods and ideas for the structural and aesthetic construction of the workspace is what we will notice in this research by standing on one of the contemporary arts, which I borrowed from the digitization, which is the digital art that means the set of means that a person uses to reach a dramatic result using the computer Automated, The researcher has developed an equation to elicit the aesthetic concept of graphic artwork through the digital media used (digital art x digital environment) =the resulting digital product=new visual values, digitization has become as a technique in graphic arts based on digital materials, as the French philosopher "Pierre Levy" explains, and the researcher here represents "Art project”, ”Augmented reality” interactive application, shown at Venice biennale 56th, Egyptian pavilion as a practical Methods of the research in those digital experiments.
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Shuhratovich, Ismatov Ulfat. "Technologies of Working on Graphic Materials in Fine Arts Classes." Journal of Asian Multicultural Research for Educational Study 1, no. 2 (November 9, 2020): 1–4. http://dx.doi.org/10.47616/jamres.v1i2.46.
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This article discuses technology used to develop graphic material in fine arts classes. The purpose of fine arts classes is to teach students to draw on a variety of graphic materials; to teach them to see, comprehend, understand and appreciate the beauties of being and art; to develop aesthetic and artistic taste, to expand the scope of artistic thought; to develop artistic creativity and imagination, to help them find their own style, their own way of creativity.
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DUMLU, Gamze. "SURREALISM AND PHOTO-MANIPULATION IN PHOTO ART." IEDSR Association 6, no. 11 (February 24, 2021): 123–37. http://dx.doi.org/10.46872/pj.229.
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As a result of examining the art of photography in terms of aesthetics and advertisement, it aims to examine both the raw and processed photo-manipulations, especially the designs used in printed media and advertisements. The aim of the study; It covers the perceptual richness of the processed photographs and their examination from the perspective of surrealism. The effects of the photographs of the products of the brands after the photo-manipulation applications on the people were examined. Comparison method was made by placing these raw photographs of the products and processing them from a surreal point of view. The comparisons are interpreted from the artistic perspective and the artists' own views.
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Song, Tengfei, Suyuan Liu, Wenming Zheng, Yuan Zong, and Zhen Cui. "Instance-Adaptive Graph for EEG Emotion Recognition." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 03 (April 3, 2020): 2701–8. http://dx.doi.org/10.1609/aaai.v34i03.5656.
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To tackle the individual differences and characterize the dynamic relationships among different EEG regions for EEG emotion recognition, in this paper, we propose a novel instance-adaptive graph method (IAG), which employs a more flexible way to construct graphic connections so as to present different graphic representations determined by different input instances. To fit the different EEG pattern, we employ an additional branch to characterize the intrinsic dynamic relationships between different EEG channels. To give a more precise graphic representation, we design the multi-level and multi-graph convolutional operation and the graph coarsening. Furthermore, we present a type of sparse graphic representation to extract more discriminative features. Experiments on two widely-used EEG emotion recognition datasets are conducted to evaluate the proposed model and the experimental results show that our method achieves the state-of-the-art performance.
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Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.
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The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.
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Guillaumier, Ashleigh, Billie Bonevski, Chris Paul, Catherine d’Este, Sarah Durkin, and Christopher Doran. "Which Type of Antismoking Advertisement Is Perceived as More Effective? An Experimental Study With a Sample of Australian Socially Disadvantaged Welfare Recipients." American Journal of Health Promotion 31, no. 3 (November 11, 2015): 209–16. http://dx.doi.org/10.4278/ajhp.141125-quan-593.
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Purpose. Evaluate the perceived effectiveness of key antismoking messages among highly disadvantaged smokers and assess the impact of nicotine dependence and cessation cognitions on message processing. Design. The experimental crossover trial, undertaken between March and December 2012, randomly exposed participants to two of three antismoking advertisements delivered via touchscreen computer. Setting. Welfare recipients were recruited from a community service organization in New South Wales, Australia. Subjects. Subjects were 354 smokers (79% response rate). Participants resided in government rental housing (52%), earned less than AUD$400/wk (72%), and received their primary income from government welfare (95%). Intervention. Three 30-second antismoking television advertisements representing common campaign themes: why to quit (graphic imagery), why to quit (personal testimonial), or how to quit. Measures. An 11-item scale assessed perceived effectiveness and message acceptance. An eight-item cessation cognitions index assessed motivations and readiness to quit, and the heaviness of smoking index was used to classify nicotine dependence. Analysis. Descriptive statistics, generalized linear mixed models, and multiple linear regression analyses are reported. Results. Why-to-quit advertisements were perceived as significantly more effective than the how-to-quit advertisement (all p < .0001). Smokers with positive cessation cognitions were more likely to accept antismoking messages (p = .0003) and perceive them as effective (p < .0001). Nicotine dependence level did not influence message acceptance (p = .7322) or effectiveness (p = .8872). Conclusion. Highly emotive advertisements providing good reasons to quit may be the most effective in promoting the antismoking message among groups with high smoking rates.
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Waradya, Vera, and Arjo Bimo. "Inspirasi Origami dalam Desain Logo." Humaniora 4, no. 1 (April 30, 2013): 600. http://dx.doi.org/10.21512/humaniora.v4i1.3469.
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From time to time design trends have adapted in certain styles. One is the art of origami. It inspires many graphic designers in 2009, mainly design logo and typeface. Origami is the traditional Japanese folk art of paper folding, turning a piece of paper into a beautiful shape that is a work of art in itself. And with its simplicity and geometric shapes, origami logo design is used by companies who want to represent modern, delicacy, attention to detail, precision, and elegance.
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Shutova, N. M. "STYLISTICS OF ADVERTISING TEXT AS A TRANSLATION TASK (ON CAR ADVERTISING MATERIAL)." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 461–70. http://dx.doi.org/10.35634/2412-9534-2019-29-3-461-470.
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The paper concerns stylistic parameters of car advertisements in English and the problems of their preservation in Russian translations. Although commercials today quite actively employ non-verbal expressive means, the verbal part in most cases plays a decisive role in the effectiveness of advertising. The choice of car advertisements for the present study was predetermined by extreme popularity of the car market and its special inventiveness in the art of advertising. The paper’s objective was to define the main stylistic features of car advertisements and slogans - short and striking phrases usually preceding the advertising text itself. Another objective was to single out the most popular stylistic devices and discuss the possible ways of their translation into Russian. The conducted research makes it possible to conclude that epithets, parallel constructions and metaphors are most frequently used to create certain symbolic images. Linguostylistic, lexicographic, situational and comparative analyses were applied to the data processing. The cited advertisements were taken from the websites of the corresponding producers of cars.
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George, Phillip. "Mnemonic Notations: A Decade of Art Practice within a Digital Environment." Leonardo 35, no. 2 (April 2002): 121–27. http://dx.doi.org/10.1162/00240940252940450.
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The author's work Mnemonic Notations represents the evolution of one computer graphic file, first generated in 1990. The author has modified the file for over a decade in response to exposure to many ideas and influences. The Mnemonic Notations file has been output and visually represented as paintings and prints. Mnemonic Notations files were also used as the basis of the Mnemonic Notations CD-ROMs and interactive installations, as well as digital photographic works dealing with fictional documentations.
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Li, Xiaqing. "A Pragmatic Analysis of Humor Words in English Advertisements." English Language and Literature Studies 6, no. 2 (June 2, 2016): 193. http://dx.doi.org/10.5539/ells.v6n2p193.
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<p>As an independent discipline, pragmatics was through out thirty years’ development. It is also a young discipline. As a medium emerging commonly in advertising language art, humor has attracted wide attention of many producers. Previous scholars analyzed more from the perspective of grammar, vocabulary, rhetoric, etc. But the research of advertising language humor is lacking from the aspects of pragmatic rules. Our collection of data is quite open. Any advertisement that can be transcribed in to written form is our interest. They are excerpted from magazines, advertisement, collecting books, newspapers, TV and radio commercials. As we only focus on language humor, situational humor produced by visual performance is not involved this thesis. The advertising language art of humor has been widely paid attention. Based on the existing theories of humor research, author of this paper used many kinds of pragmatic theories to analyze English advertising humor language, and including reference, deixis, anaphora, presupposition, speech act theory, the cooperative principle, conversational implicatures, and the politeness principle. It can not only provide reference for the research of this field for later scholars, but also provide theoretical guidance for the AD makers of using humor language to produce a good advertising effect.</p>
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Bu, Yi. "System of Micrographics and the Visual Practice of the “New Wave”: To the Defi nition of the Principles of Contemporary Design." Observatory of Culture 15, no. 3 (August 19, 2018): 290–97. http://dx.doi.org/10.25281/2072-3156-2018-15-3-290-297.
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The paper is devoted to the study of the principles of micrographics in the artistic space and graphic design of the twentieth century. The article describes micrographics as an art phenomenon and considers it as an important element for the fi ne arts and graphics. The text studies principles of micrographic, which can be considered as an important component of the contemporary visual system. At the same time, micrographic elements defi ne the specifi cs of modern design. The article notes that micrographic principles are a common phenomenon in the visual systems throughout the 20th century. In addition, the article gives an attention to the typography and visual practice of the “New Wave” — the most important trend of graphic design in the second half of the 20th century. This phenomenon is considered as the central form of modern design whose specifi cs signifi cantly infl uenced the development of graphic design in general. At the same time, we observe the fact that the micrographic methods were important for the creation of the phenomenon of the “New Wave”. They correlate both: the visual system of the “New Wave” and the graphic program of modern graphic design. The article considers the main forms of micrographics, which were widely used in the system of “New Wave”. The author attempts to determine micrographics, and to give the characteristic of the “New Wave”. Micrographics is explored as a form in contemporary art space and as a system that had a signifi cant influence on the formation and development of the design in the twentieth century.
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Budnyk, Andrii. "THE INFLUENCE OF UKRAINIAN FILM POSTERS OF THE 1920s AND 1930s ON CONTEMPORARY GRAPHIC DESIGN." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 185–98. http://dx.doi.org/10.31866/2410-1915.22.2021.235912.
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The purpose of the article is to analyse the influence of the system of compositional techniques and graphics of the All-Ukrainian Photo Cinema Administration Film Poster School and Ukrainafilm on domestic graphic design. Research methodology. The author has applied historical, art history, and comparative analysis. Scientific novelty. Through the similarity matching in the world and Ukrainian design and the study of the use of design schemes, techniques and tools that are permanently used in graphic design, we reason the influence of the Ukrainian Poster School of the 1920s and 1930s on contemporary graphic design practice. Conclusions. Despite a long break for ideological grounds in the functioning and study of Ukrainian graphic design in the middle of the twentieth century, we record a noticeable influence of the means and techniques of Ukrainian poster art on modern trends. These are general compositional techniques: placing a formatted face or figure as a dominant on the entire plane of the image, designing a composition on the principle of a “playing card”, deliberately replacing grounds on the inverted perspective. There are local techniques: concentric circles as a compositional dominant, filling the main character’s glasses with visual elements or font content, and rhythmically repeating visual elements or font groups. The identified similarities can be valuable in the young designers training, taking into account the general development of Ukrainian graphics’ history and its single branch graphic design. It is also possible to use these schemes, techniques and tools in contemporary design education as a methodological basis for teaching poster design, designing, composition, layout and modelling.
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North, Laurence. "Architecture and the graphic novel." Journal of Illustration 6, no. 2 (December 1, 2019): 341–64. http://dx.doi.org/10.1386/jill_00018_1.
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Abstract Richard McGuire's Here (2014) and Chris Ware's Lost Buildings (Glass et al. 2004) are discussed as examples of graphic novels that demonstrate a synergistic relationship with architecture. The synergistic relationship is examined through its use of decorative forms and the use of architectural reference as a narrative device and a signifier of space and time. The article goes on to explore the potential for architectural structures to function as graphic novels. The late medieval frescos attributed to the architect and painter Giotto, that decorate the chapels at Assisi and Padua, are used as examples of illustrations that rely on their architectural context. Giotto's work is explored as a model to inform the development of the graphic novel into an architectural form. Laura Jacobus' (1999) and Jenetta Rebold Benton's (1989) analyses of Giotto's works at Padua and Assisi provide us with an understanding of Giotto's work and the importance of decorative features in relation to the audience's perception of real and pictorial space, experienced time and narrative time. Jacobus' and Rebold Benton's analysis is then applied to two of London's Art on the Underground projects by Wallinger and Trabizian and also The Factory, Hong Kong. At these contemporary architectural sites, images have been installed to rehabilitate mundane structures and enrich the users experience. The installed imagery allows users to become immersed in narratives by eroding barriers between real and pictorial space, experienced time and narrative time. These contemporary examples describe the graphic novel's potential to be authored and read as an architectural form.
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Стульнікова, Ю. О. "УНІВЕРСАЛЬНІСТЬ ОРНАМЕНТАЛЬНО-ГРАФІЧНОЇ МОВИ СУЧАСНОЇ ВИТИНАНКИ." Art and Design, no. 3 (November 13, 2020): 98–110. http://dx.doi.org/10.30857/2617-0272.2020.3.8.
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To trace and ascertain the versatility of ornamental graphical language as one of the main peculiarities of contemporary paper-cutting (vytynanka). To identify the features and characteristics of the ornamental graphical language, to form a definition for the notion of paper-cutting art. Methodology. In the process of research, the author used such general scientific methods as: analysis, synthesis, systematization. The comparative method and the method of visual stylistic analysis were also applied. Results. The author has compared and analyzed the replicas of original art works; the former are reproduced in varying materials. The notion of ornamental graphical language of contemporary paper-cutting (vytynanka) has been researched, its general features and characteristics have been defined, and the definition has been formed. Based on the research result, it is suggested to introduce a range of changes to the notion of "vytynanka" regarding the characteristics of materials and techniques used. The main directions of paper-cutting art have been out lined: traditional and contemporary vytynanka. Attention has been paid to the importance of making a distinction between the contemporary vytynanka and graphic art, which is possible only through the analysis of their ornamental graphical anguage. Scientific novelty. The definition of "paper-cutting (vytynanka)", dentification of its main characteristics as the basis for a new classification, the reference of paper graphics (machine paper-cutting) into a separate group. Practical significance. Ornamental graphical language is presented in the study as one of the main characteristics of vytynanka, which should become the basis for a new classification of paper-cutting art works. The research results can be used for further artistic search of signature style at the boundary of different art forms. Exhibiting a certain group of professional paper-cutting art works as examples of graphic art has been justified.
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Xue, Yan Min, Qing Liang Han, Jian Hang Wang, and Rui Bai. "Analysis of Brockmann’s Posters Based on Geometry of Design." Advanced Materials Research 490-495 (March 2012): 1960–66. http://dx.doi.org/10.4028/www.scientific.net/amr.490-495.1960.
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Josef Müller-Brockmann was a Swiss graphic designer and teacher, who is famous of his use of typography. This paper systematically analyzes his six poster works from the perspective of design geometry. The posters’ titles are ‘Junifestkonzert’,‘Tonhalle Quartett’,‘Der Nussknacker’,‘Musica Viva’,‘Helmhaus Zurich’ and ‘Protegez L Enfant’. In these posters, different geometric elements are used in delicate, planned ways to express specific themes. Format, proportion and scale are the main focus of the analysis. Auxiliary lines are used to show how geometry is used to create beautiful art. This paper is intended to help designers understand the ways in which geometry can be applied to graphic design, creating works with strong visual dynamics and easily recognized focal points.
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Будник, А. В. "ЮРІЙ КРИВДІН – МАЛОВІДОМЕ ІМ’Я УКРАЇНСЬКОГО ГРАФІЧНОГО ДИЗАЙНУ 1920–30-х рр." Art and Design, no. 4 (February 15, 2021): 60–69. http://dx.doi.org/10.30857/2617-0272.2020.4.4.
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Purpose: organize and analyze the legacy of a little-known artist, make an attempt to collect biographical data, trace the relationship of creative principles with world trends in graphic design of that period. Methodology. Historical-comparative and art-scientific methods of analysis were used for the research. Results. During the 1920s and 1930s, Ukrainian magazine graphics underwent a final transformation from the aesthetics of modern and eclecticism to the style of constructivism, which called for the work of masters of a new type of graphic thinking, such as Yuriy Kryvdin. The investigation for the first time analyzed the activities of a little-known representative of Ukrainian constructivism – Yuriy Kryvdin, who worked in the field of magazine graphics and layout, collage, book design. The influences of world tendencies of graphic design on creativity of the master, typology of imitation are investigated. Samples of the artist's autographs were collected and the publishing spheres to which the artist made efforts were systematized. His literary activity and its connection with artistic creativity are briefly reviewed. Scientific novelty.As for Kryvdin, there was no art criticism in the professional literature. For the first time, the sources that influenced the creative style of the master are highlighted, as well as the spheres of his activity are systematized. Practical significance. With the development of Ukrainian culture in the paradigm of an independent state, the importance of opening the little-known pages of the formation of national design, which gave the foundation of modern art.
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Vargas-Bianchi, Lizardo, and Marta Mensa. "Do you remember me? Women sexual objectification in advertising among young consumers." Young Consumers 21, no. 1 (March 21, 2020): 77–90. http://dx.doi.org/10.1108/yc-04-2019-0994.
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Purpose The purpose of this paper is to examine the effect on brand name recall in advertisements with varying levels of female sexual objectification content among young millennials and the effect of distraction on this recall effort. The question arises whether this group evokes those brands that appear in advertisements using different levels of objectification content. Design/methodology/approach The study uses a correlational design that includes two studies with different groups of subjects: an assessment of perceived female sexual objectification levels in a set of ads and a quasi-experimental study that used the assessed perceived levels of female objectification and brand name short-term recall scores of those ads, with and without the intervention of an attention distractor. Findings Results suggest that female sexual objectification content exerts a limited influence on brand name recall between participants. In addition, it is not men who remember brand names from ads using sexual objectified images, but young women. Research limitations/implications The study had an exploratory scope and used a small non-probabilistic sample. Subjects belong to a cultural context of Western world developing economy, and thus perceived female objectification may vary between different cultural settings. Results refer to graphic advertisements, though this cohort is exposed to other audiovisual content platforms. Originality/value Several studies have addressed female objectification in advertising and media, but few focused on young Latin American audiences and its impact on the recollection of advertised brands. Brand name retention and awareness is still a relevant variable that the advertising industry takes in account as one of several predictors toward buying decisions. Even less research has been made on Latin American social and cultural contexts.
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Sebenova, B., and N. Mikhailova. "Modern formats of graphic novels as a tool of continuity of ethnocultural traditions in the upbringing and education of youth and adolescents." Pedagogy and Psychology 46, no. 1 (March 31, 2021): 204–12. http://dx.doi.org/10.51889/2021-1.2077-6861.27.
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This article describes such modern formats of literary and graphic genres as manga and comics (including ranobe, manhwa, and manhua). Graphic novels are currently relevant all over the world, especially among young people. Graphic novels of this type are actively promoted in the mass media and pop culture. These picture books received the attention and adaptation not only of small film studios and book publishers, but also of the cinematic giant – Hollywood. Due to the interest of the younger generation in the format of comics, this genre can be used to promote ethnocultural traditions in the education and education of the younger generation with an orientation on the national characteristics of the country and the values of Kazakh art and culture. Such an axiological dialogue of the culture of near and far ethnic systems will certainly contribute to the development of interest in national heritage, since the conversation will be conducted in an accessible language of images and in the original presentation using modern graphic formats and genres.
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Mikhieieva, Lesia. "ELEMENTS OF VISUAL IDENTIFICATION IN BRAND PRESENTATION." EUREKA: Social and Humanities 3 (May 31, 2020): 3–8. http://dx.doi.org/10.21303/2504-5571.2020.001326.
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The analysis of modern literary sources demonstrates that studying of visual identification elements is considered by authors of scientific researches in the aspect of their use for business-structures. Specific sectors of human activity and the art sphere are either ignored or not taken into account. But some art spheres have their own specific peculiarities that can add design theory by the new view on a series of classic definitions and paradigms. The article considers visual identification elements in the classic design theory and additional visual identification elements on the example of a genre sphere of human activity in music art. The problem arose at describing visual identification elements of music groups that influence the formation of their brand. There are determined several visual identification elements, inherent to creative groups, working in the sphere of audiovisual art. The tasks, set at the research: – analysis of literary sources in the research problem; – analysis of visual materials for revealing certain signs; – determination of additional visual identification elements, inherent to creative groups, working in the sphere of audiovisual art; – brief description of obtained results. Research methods: review of literary data in the topic; collection of a sampling of designs objects; observation and comparison of design objects from the collected material. Results: there are offered additional visual identification elements of the thematic activity spheres in music art. Scientific novelty: an ordered list of visual identification elements, both common and additional, used for brand creation. Practical importance: the offered list of graphic identification elements may be used in scientific studies; in the learning process at studying the research topic at preparing learning and methodical manuals in graphic design.
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Wolff, H. Ekkehard, Sileshi Berhanu, and Getinet Fulea. "On Visibility and Legitimisation of Languages: The ‘Linguistic Landscape’ in Adaama, Ethiopia." Aethiopica 16 (March 9, 2014): 149–91. http://dx.doi.org/10.15460/aethiopica.16.1.704.
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With a focus on the city of Adaama (formerly: Nazret), the biggest urban agglomeration in Oromia Regional State, the paper addresses the “linguistic landscape” which is indicative of the overall sociolinguistic situation of a polity. Language use in the public space has not only practical-instrumental, but also historical, political, juridical, and most of allpsycho-sociological dimensions, the latter relating to the symbolic value of written language use. The paper deals with multilingual graphic representations on public commercial and private sign-boards, advertisements, and notices in Adaama city, with an additionalfocus on the situation on the campus of Adama Science and Technology University. Under the chosen theoretical framework, it analyses language visibility in terms of language legitimisation, both in terms of peoples’ attitudes and based on official documents regarding language status and language use in present-day Ethiopia, such as the Education and Training Policy (1994), the Constitution of the Federal Democratic Republic of Ethiopia (1995), the Revised Constitution of Oromia Regional State(2001/2006), and the Higher Education Proclamation (2009). The primary focus of the paper is on the status, functions, and representations of AfanOromo, including a review of the major historico-political changes affecting this language from Imperial Ethiopa (before 1974), the Därg period (until 1991), and under the new Constitution of the FDRE (since 1995). The paper also deals with linguistic and graphic issues concerning the “orthographic” representations of the four languages used: Afan Oromo, Amharic, Arabic, and English, involving three different graphic systems: Fidäl (Abugida), Arabic, and Roman.
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Cabrelles, Miriam, José Luis Lerma, and Valentín Villaverde. "Macro Photogrammetry & Surface Features Extraction for Paleolithic Portable Art Documentation." Applied Sciences 10, no. 19 (October 2, 2020): 6908. http://dx.doi.org/10.3390/app10196908.
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In this article, we propose a methodology for the archaeological documentation of limestone plaquettes decorated with faint paintings and fine engravings. The plaquette number 16330 is presented, belonging to the portable art collection in Cova del Parpalló (Gandía, Spain), one of the most important Paleolithic sites in the UNESCO’s Rock Art of the Mediterranean Basin on the Iberian Peninsula. Macro photogrammetry is used to generate a 3D model and basic treatments on raster images. The resulting 3D model has a spatial resolution of tens of microns and was used to generate a digital elevation model (DEM) and orthorectified macro photographs for documenting the engravings and paintings. All stages of the workflow are detailed in-depth, specifying the data collection parameters and the configuration used in the subsequent processing with HyperCube and DStretch software. The resulting documentation is accurate, reproducible, and objective and allows the reinterpretation of the available graphic documentation started in the 1990s.
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Chiavoni, Emanuela. "Rome and Its Domes: Drawing, Art and Architecture." Periodica Polytechnica Architecture 49, no. 1 (May 4, 2018): 72–76. http://dx.doi.org/10.3311/ppar.11826.
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Any analysis performed to gather data about architectural and urban heritage always begins with the observation of reality and the involvement established between the observer and the space around them. A spectator inevitably interprets what they see in a personal manner so as to give objects a specific meaning. The ability to understand the data and the relationship between the parts and then assign it a value varies from person to person. That the mind can mediate the mental processes of perception-action-thought means that any direct analysis to understand a cultural asset is scientifically extremely important. The critical process sparked by an on-site study exploits the concise graphic transcription of what is visible, including the graphics tool used to achieve that representation. This contribution will present a study performed by the author to gather data using the drawings of several domes in the historical centre of the city of Rome.
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Adi, Danendro. "Looking at the Japanese Automotive Industry through Indonesian Published Manga." Humaniora 8, no. 3 (October 19, 2017): 265. http://dx.doi.org/10.21512/humaniora.v8i3.3680.
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This article discussed manga and visual language that had been used on the Japanese fiction graphic narrative as a case study and graphic biography as a comparison. It implemented literature study approach on illustration, specifically, sequential art literature to obtain data as well as finding a theoretical framework to strengthen research results. The article began with a brief history of Japanese comics, then would be discussed the definition and common form of manga and how-to extent the media to convey the information and to identify the visual approach to narrating the information. It finds that modern manga has a potential to become an effective medium to narrate the Japanese culture, growth, and its technological advances that have gained global recognition.
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 64, no. 1 (March 14, 2017): 90–93. http://dx.doi.org/10.1017/s0017383516000280.
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The nineteenth-century French painter Gustave Courbet famously declared that he did not paint angels because he had never seen one. If artists of classical antiquity were ever troubled by such scruples regarding depictions of the supernatural, it is not (so far as I know) documented. This is not to say that the question of how an artist could represent, say, an Olympian deity, went completely unheeded: Dio Chrysostom's Olympic Discourse of ad 97 is one serious attempt to address that topic, with significant implications for the status of an artist (in this case, Pheidias) famed for ‘imagining’ the divine. Yet evidently the task of visualizing spiritual phenomena devolved no less to humble ‘craftsmen’ – as Hélène Collard shows in her monograph, Montrer l'invisible. This gathers a catalogue of 164 Athenian vases, mostly of the fifth-century bc, as case studies of the various formulations devised to show religious experience – many of them images upon objects, such as white-ground lekythoi, that may once have been used in particular rites and observances. Graphic traditions of mythology, and an established series of personification (e.g. Nike, Eros, Hypnos), assisted the process. However, many of the scenes collected by Collard do not apparently attempt to ‘show the invisible’. They seem, rather, to evoke the realities of regular practice – processions, libations, sacrifice, adornment of a stele. Such scenes only become ‘paranormal’ when invested with some extra knowing detail: for example, a large owl alighting upon an altar (presumably indicating the favour of Athena). And sometimes we simply have to look a little closer to apprehend the signs of divine agency. So a herm-head appears to lean forwards – as if to sip at the kantharos held up in propitiation – while the phallus of another herm seems distinctly to elongate in the presence of two ecstatic women.
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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.
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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.
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Abbasov, Iftikhar Balakishi, and Tszin'bo Van'. "Design of space for a kite festival." Культура и искусство, no. 1 (January 2020): 81–91. http://dx.doi.org/10.7256/2454-0625.2020.1.30362.
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The object of this research is kite festival in the Chinese city Weifang in Shandong province. The subject is the impact of graphic support of the kite festival upon heightening interest in the folk culture. The development of a new design concept of hosting a festival would increase its attractiveness and popularize traditions of the Chinese folk crafts. Having originated in China, the kites rapidly spread among the neighboring countries of Southeast Asia, and later appeared in Western countries. Kite festivals were used extensively – from entertainment events to translation of information, and even military purposes. The goal of this work consists in identification of peculiarities of the Chinese traditional folk art with regards to hosting public cultural events on the examples of the International Kite Festival in Weifang. The authors analyze the specificities of logos and event posters of the hosted festivals, and propose the criteria for the analysis of advertising and graphic information. The new design ad graphic support of festivals alongside the recommendations on arranging space for the festival are developed. The research results, designed tools and new concept of graphic support for holding a kite festival in Weifang would help to popularize Chinese cultural traditions and increase its tourism attractiveness.
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Vlajo, Koraljka. "Designing a Socialist Man." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 15. http://dx.doi.org/10.25038/am.v0i19.314.
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This paper asserts that graphic design can be analyzed as a performative act, particularly in relation to political performativity, a term coined by Reuben Rose-Redwood and Michael R. Glass after Judith Butler’s theory of performativity. Graphic design as a mass media tool enables persistent and everyday reiteration of regime authority, thus enforcing the construction of preferable identities of ideal citizens. In the text, the scope of political performativity of graphic design as an example of socialist Yugoslavia is analyzed, based on the cultural theory and the theory of political performativity, and by using examples of poster, magazine and catalogue cover designs created for political and cultural events in Socialist Federal Republic of Yugoslavia (SFRY) from the 1940s to the 1980s. It will be shown how graphic design has had an impact in shaping and reshaping the image of Yugoslav citizens through an everyday representation of men, women and youth in order to consistently reassert the dominant state/regime narrative. At the same time, it will be shown that graphic design, even when used within that narrative, is a powerful tool for subverting the regime’s authority and challenging the perceived ideal thus helping shape new identities.Article received: April 29, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019; Original scholarly paperHow to cite this article: Vlajo, Koraljka. "Designing a Socialist Man." AM Journal of Art and Media Studies 19 (2019): 15-27. doi: 10.25038/am.v0i19.314
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Ahmad Radzi, Mohamad Quzami An-Nuur, and Shahrunizam Sulaiman. "Online Distance Learning New Norm in Undergraduate Graphic Design Education." Idealogy Journal of Arts and Social Science 6, no. 1 (April 28, 2021): 43–48. http://dx.doi.org/10.24191/idealogy.v6i1.253.
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Technology advancement has revolutionized the education environment, resulting in Online Distance Learning (ODL) being introduced at the tertiary level to meet the demands of various groups of individuals. While the academic environment embraces technology advancement and ODL, the world was hit with the devastating Covid-19 pandemic, putting the whole world at freeze and greater challenges. This created further challenges towards the ODL implementation, especially in the fields requiring hands-on practical lab and studio practices such as art and design. Despite the technology advancement and flexible platform, the Teaching and Learning process faces unprecedented challenges which required investigation towards its implementation and effectiveness. This article discusses the implementation of Online Distance Learning (ODL) in the teaching and learning (T&L) process of the Graphic Design Field in Malaysian Tertiary Institution. The result from the finding identified what were the challenges and can be used to further improve the implementation of ODL in the related field of study in the future.
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Halverson, John. "The First Pictures: Perceptual Foundations of Paleolithic Art." Perception 21, no. 3 (June 1992): 389–404. http://dx.doi.org/10.1068/p210389.
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Paleolithic representational art has a number of consistent characteristics: the subjects are almost always animals, depicted without scenic background, usually in profile, and mostly in outline; the means of representation are extremely economical, often consisting of only a few strokes that indicate the salient features of the animal which are sufficient to suggest the whole form; and it is naturalistic to a degree, but lacks anything like photographic realism. Two elementary questions are raised in this essay: (i) why did the earliest known attempts at depiction have just these characteristics and not others? and (ii) how are objects so minimally represented recognizable? The answers seem to lie with certain fundamental features of visual perception, especially figure—ground distinction, Gestalt principles of closure and good continuation, line surrogacy, component feature analysis, and canonical imaging. In the earliest pictures the graphic means used are such that they evoke the same visual responses as those involved in the perception of real-world forms, but eschew redundancies of color, texture, linear perspective, and completeness of representation.
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Bel'skaya, Anna O. "FEATURES OF COMPOSITION IN THE ART OF CHILDREN’S BOOKS BY ARTHUR RACKHAM." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2020): 131–49. http://dx.doi.org/10.28995/2073-6401-2020-3-131-149.
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The article studies the book illustration by the English artist Arthur Rackham (1867–1939), the features of his work in the context of time and the experience that can be used in the process of teaching the book design and illustration. Here, research interest is focused on six main techniques that the artist actively used when illustrating in the children’s books in England in the late 19 – early 20th century. The name of A. Rackham and his graphics, are entirely associated with the English Art Nouveau. Having studied the graphic heritage of A. Rackham, on the example of his seven illustrations for children’s books, one can trace how A. Rackham’s creative credo was formed. The artist managed to move away from imitation of the English Victorian style, the Eastern and Western charts, medieval manuscripts and came to his own version of the Neo-Gothic in the art of the English book
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Makarova, Ksenia. "Figure-Background Relations in Black and White Illustration as a Section of Teaching Book Art on the Art-Graphic Faculty of MSPU." KANT 36, no. 3 (September 2020): 308–29. http://dx.doi.org/10.24923/2222-243x.2020-36.58.
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The problem with the study below is contradiction between the need to introduce the young generation to the culture of books as an aesthetic phenomenon and the lack of development of methods for studying the composition of illustrations in art and pedagogical education. The research methods used were the study of literature on the given topic and the practice of teaching the art of the book at the AGF MPSU for ten years. During the theoretical part of the study we examined the perception of black and white, laws of visual perception (similarity, neighborhood, closure, continuity, inertia and primary forms) and features of construction of the relations "figure - ground" in one-figure, two-figure and multi-figure compositions. The result of the practical part of the study was the system of compositional exercises on the theme ""figure - background relations" in black and white illustration". The system of exercises below is not final and can be expanded and refined by the author during further scientific and pedagogical activities.