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Artículos de revistas sobre el tema "Communication in design"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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1

Fischer, Kerstin, and Helena Larsen. "Communication Design." Communication & Language at Work 2, no. 2 (January 26, 2013): 26. http://dx.doi.org/10.7146/claw.v1i2.7889.

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In this article, we present our approach to communication design, which focuses on the organization of information for a particular audience and communicative purpose, drawing on knowledge from a range of disciplines including linguistics and communication. We argue that communication design can help companies save enormous costs and attract, as well as keep, customers. We present an example for a redesign by one of the students from our study programs at SDU Sonderborg that illustrates the kind of work communication designers can do.

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2

Swarts, Jason. "Communication design." Communication Design Quarterly 1, no. 1 (September 2012): 12–15. http://dx.doi.org/10.1145/2448917.2448920.

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3

Spooren, Wilbert. "Communication design." Document Design 1, no. 3 (December 31, 1999): 221–24. http://dx.doi.org/10.1075/dd.1.3.10spo.

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4

Hirsch, Tad. "Surreptitious Communication Design." Design Issues 32, no. 2 (April 2016): 64–77. http://dx.doi.org/10.1162/desi_a_00383.

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This essay presents “surreptitious communication design” (SCD), a framework for design in contentious political contexts. SCD is concerned with crafting messages that are meaningful for intended recipients, but illegible and/or inaccessible for adversaries who seek to undermine communications or harm participants. Borrowing concepts from cryptography and information theory, SCD's key theoretical concerns are described, as are several of the strategies and tactics through which it is operationalized. Two recent anti-human trafficking projects are compared, one developed from an SCD perspective, the other from a traditional mass communications approach. Finally, SCD is considered in relation to the burgeoning “Design for Good” movement.

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5

Kostynets, Valeriia, Andriy Balandiuk, and Liubov Padiy. "VISUAL COMMUNICATION DESIGN IN HOSPITALITY." Actual Problems of Economics 1, no. 236 (February 28, 2021): 24–33. http://dx.doi.org/10.32752/1993-6788-2021-1-236-24-33.

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The article is devoted to the generalization of the design features of visual communication of hospitality brands. Visual communications is a separate field of design, which began to take shape in the 1950s. Its purpose was to study a set of problems related to the interaction of the system "man - environment", designed to organize spatial content. Visual communications of design have become an important component of the modern consumer market, finding its expression not only in advertising, but also in the image of the seller and the product itself. Visual communications have become a link between design, science and economics. Based on the results of the study, the authors analyzed the impact of visual communication design on the branding process in the HoReCa segment. The share of perception through visual images, signs, systems is incredibly large, and the formation of proper visual communication based on basic principles of perception, relevant images and associations helps to create a correct, comfortable and cost-effective space for promoting goods and services, including hotel and restaurant segment. The authors propose a classification of design elements of visual communication in the field of hospitality. There are three main time stages of design in the structure of brand design in the hospitality industry. The article identifies the features of the design of visual communication for the hotel and restaurant business. Elements of the brand, embodied in the design, form a system of visual communications, which begin to perform the functions assigned to them by corporate and marketing strategy. Objects that are visually perceived are less likely to cause hostility and more likely to form positive associations, which leads to better assimilation of information and memory, which is an important element in shaping consumer loyalty in the hospitality industry.

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6

Løvlie, Anders Sundnes. "Designing Communication Design." Journal of Media Innovations 3, no. 2 (November 29, 2016): 72–87. http://dx.doi.org/10.5617/jmi.v3i2.2486.

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Innovating in the field of new media genres requires methods for producing designs that can succeed in being disseminated and used outside of design research labs. This article uses the author's experiences with the development of university courses in communication design to address the research question: How can we design courses to give students the competencies they need to work as designers of new media? Based on existing approaches from UX design and other fields, I present a model that has demonstrated its usefulness in the development of commercial products and services. The model emphasises rapid techniques for user research and ideation; genre analysis; use of pitching and storytelling as a form of prototyping; and humanist methods for evaluation and critique.

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7

Pierce, Robert. "Design of communication." Communication Design Quarterly 1, no. 1 (September 2012): 31–36. http://dx.doi.org/10.1145/2448917.2448924.

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8

Aakhus, Mark. "Communication as Design." Communication Monographs 74, no. 1 (March 2007): 112–17. http://dx.doi.org/10.1080/03637750701196383.

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9

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

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

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10

Hershey, Douglas A. "Communication by Design." Contemporary Psychology 47, no. 6 (December 2002): 663–65. http://dx.doi.org/10.1037/001261.

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11

Gupta, Sanjay. "Communication clothing design." Journal of the American Society for Information Science and Technology 60, no. 9 (September 2009): 1915–19. http://dx.doi.org/10.1002/asi.21132.

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12

ISHII, Koji. "An Integrated Design of Communication and Control: Communication Design for Control, and Control Design Considering Communication Uncertainties." IEICE ESS Fundamentals Review 17, no. 3 (January 1, 2024): 193–202. http://dx.doi.org/10.1587/essfr.17.3_193.

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13

Yudhanto, Sigied Himawan, Faizal Risdianto, and Aphief Tri Artanto. "Cultural and Communication Approaches in the Design of Visual Communication Design Works." Journal of Linguistics, Culture and Communication 1, no. 1 (June 24, 2023): 79–90. http://dx.doi.org/10.61320/jolcc.v1i1.79-90.

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This paper discusses culture and communication, which are essential in designing visual communication design works (visual communication design). A student and professional designer with a good understanding of culture and communication can create appropriate and effective designs for the target audience. Designers need to study the target audience's values, norms, Language, and beliefs. This is conducted to ensure the designs are acceptable to the target audience in achieving the desired goals. Designers must also consider visual elements such as colors, typography, symbols, and images appropriate to the target audience's culture. The designer must have a right and measurable design concept to accommodate cultural values and norms that are adapted to the placement conditions and the target market of the users of the visual communication design product. In the test and evaluation stage, the designer must test the design on an audience that fits the consumer culture. After that, the designer needs to evaluate the audience's response to the visual communication design product that is produced, including the effectiveness and readability of the message conveyed through the design communication. In conclusion, understanding culture and communication is crucial in designing visual communication designs. Designers who consider these factors can create appropriate and effective designs and solve design problems.

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14

盛, 况. "Design Thinking and Application of Paisley Pattern Communication Variations." Design 08, no. 02 (2023): 592–602. http://dx.doi.org/10.12677/design.2023.82076.

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15

汪, 蕾. "A Study of Text Design in Visual Communication Design under Deconstructive Thinking." Design 08, no. 02 (2023): 665–72. http://dx.doi.org/10.12677/design.2023.82085.

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16

Rocco, Sanja. "Communication by Design – (Mis)Understanding the Purpose." Communication Management Review 03, no. 01 (July 30, 2018): 102–16. http://dx.doi.org/10.22522/cmr20180131.

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17

季, 添熠. "Research on Synesthetic Translation of Color Design in Visual Communication." Design 08, no. 03 (2023): 1087–94. http://dx.doi.org/10.12677/design.2023.83132.

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18

高, 兴. "Product Design of Toys for Communication of Hearing-Impaired Children." Design 08, no. 02 (2023): 352–58. http://dx.doi.org/10.12677/design.2023.82048.

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19

杨, 乐怡. "Analysis of the Application of Chinese Elements in Visual Communication." Design 08, no. 04 (2023): 3291–95. http://dx.doi.org/10.12677/design.2023.84405.

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20

Gündoğdu, Hülya. "The affects of the new media design on the visual communication design." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 373–81. http://dx.doi.org/10.18844/gjhss.v2i1.321.

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21

Vishkaie, Rojin S., and Richard M. Levy. "Design Review Process." International Journal of E-Planning Research 3, no. 4 (October 2014): 23–39. http://dx.doi.org/10.4018/ijepr.2014100102.

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Urban planners play an important role, communicate plans with developers on behalf of the city and its inhabitants. They also function as shepherds for a developer's development application, communicating with civic technicians, who ensure adherence to bylaws, civic committees, and the public. As a communication proxy between all these different stakeholders, urban planners often find themselves at the center of miscommunications, often due to assumptions and discussions made over paper-based sketches. This study employs interviews and observations with twelve urban planners from a major Canadian city to investigate the communication challenges around technical activities of the design review process, also to explore tools and technologies that are used within the design review process. Thus, the goal of this study is to arrive at a set of design recommendations to create a mobile, interactive communication medium that can potentially support the participatory communication and technical activities of the design review process.

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22

Günay, Mustafa. "Design in Visual Communication." Art and Design Review 09, no. 02 (2021): 109–22. http://dx.doi.org/10.4236/adr.2021.92010.

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23

Sano, Ryuji. "Dynamic communication mechanism design." Social Choice and Welfare 57, no. 1 (March 3, 2021): 163–80. http://dx.doi.org/10.1007/s00355-021-01309-y.

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24

Spinuzzi, Clay. "What is communication design?" Communication Design Quarterly 1, no. 1 (September 2012): 8–11. http://dx.doi.org/10.1145/2448917.2448919.

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25

Browning, Larry, and G. H. Morris. "Complexity, Communication and Design." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 53, no. 16 (October 2009): 1033–37. http://dx.doi.org/10.1177/154193120905301608.

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26

Lauer, Claire. "Technology and communication design." Communication Design Quarterly 2, no. 2 (February 2014): 17–20. http://dx.doi.org/10.1145/2597469.2597472.

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27

Eckert, Claudia, Martin Stacey, and Christopher Earl. "Formality in design communication." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 27, no. 2 (April 18, 2013): 91–103. http://dx.doi.org/10.1017/s0890060413000073.

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AbstractHow designers communicate within design teams, and with users, suppliers, and customers, differs in formality both between industries and between different situations within one project. This paper identifies three layers of structure in design communication, each of which can be more or less formal: the design process, the interaction between participants, and the representations of design information that are constructed and used. These layers can be formal across a spectrum from explicit rules to habitual conventions. The paper draws on a range of contrasting case studies in mechanical engineering and knitwear design, as well as a larger corpus of cases comparing design domains more generally, to analyze how formality affects design interaction in different situations and process contexts. Mismatches in the understanding of formality can lead to misunderstandings, in particular across expertise boundaries and between designers and their clients or customers. Formality can be modulated in the mannerism of communication, the rhetoric employed, and how representations are constructed, to make communication more effective. The effort and skill put into modulating formality is greater in domains where designers work with end users, like architecture, than it is in companies where designers interact mainly with other professionals.

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28

Triggs, Teal. "Research Notes: Communication Design." Communication Design 3, no. 1 (January 2, 2015): 1–5. http://dx.doi.org/10.1080/20557132.2015.1085675.

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29

Triggs, Teal. "Research notes: communication design." Communication Design 3, no. 2 (July 3, 2015): 103–5. http://dx.doi.org/10.1080/20557132.2015.1220474.

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30

Chaptal de Chanteloup, Christophe. "Design, la communication éternelle." Communication et langages 97, no. 1 (1993): 106–12. http://dx.doi.org/10.3406/colan.1993.2465.

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31

Boyarski, Daniel, and Richard Buchanan. "Computers and communication design." Interactions 1, no. 2 (April 1994): 25–35. http://dx.doi.org/10.1145/174809.174812.

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32

Lensu, Yakov Yu. "DESIGN AND SOCIAL COMMUNICATION." Arts education and science 3, no. 36 (2023): 31–35. http://dx.doi.org/10.36871/hon.202303031.

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The article reveals the role of design in social communication. It is shown that within a certain social group of modern society, divided by class, property, national, religious, professional and other boundaries, the social status is formed, and things serve as its expression. A thing has social properties. The doctrine of the social properties of things provides a theoretical basis for semiotic research (the study of sign properties) of various cultural phenomena. This approach allows us to comprehend the functions of things that are called symbolic. It is the sign, the symbolism of a thing that act as a means of social communication. There are things that have a minimal significative function. This is a special class of purely technical objects, often isolated from human perception. There are, however, sign things, whose main function is informational and symbolic. The designer needs to know and master the means by which a utilitarian thing can be endowed with an informative capacity. Social communication, carried out by the object world, is of real importance for human orientation in the surrounding reality, in the existing cultural environment. The object world, becoming a translational channel of social communication, acquires significant importance in human spiritual culture.

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33

Takase, Noriko, Takahiro Takeda, Janos Botzheim, and Naoyuki Kubota. "Interaction, Communication, and Experience Design in Robot Edutainment." Abstracts of the international conference on advanced mechatronics : toward evolutionary fusion of IT and mechatronics : ICAM 2015.6 (2015): 159–60. http://dx.doi.org/10.1299/jsmeicam.2015.6.159.

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34

林, 逸航. "Design Transformation and Communication Path Analysis of Chenxiao Lotus Series Art Derivatives." Design 08, no. 01 (2023): 99–104. http://dx.doi.org/10.12677/design.2023.81015.

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35

游, 依纯. "The Development Trend of Medical Art Visual Communication in the Digital Era." Design 09, no. 01 (2024): 443–51. http://dx.doi.org/10.12677/design.2024.91053.

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36

Wang, Hao, and Ze Yu Han. "Applied Technology in Design and Implementation of Infrared Communication Module." Applied Mechanics and Materials 685 (October 2014): 302–5. http://dx.doi.org/10.4028/www.scientific.net/amm.685.302.

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Infrared communication technology is a short-range wireless communications technology widely adopted in the world today range .This paper detailedly introduces the basic principles of infrared protocol. Infrared communications applications of this paper is to achieve system applications of infrared communication between two development boxes with an infrared transceiver modules.The program consists of PC program and lower computer program two parts,also are called infrared communication basic procedures and infrared communication console program.Running PC program on a PC,running lower computer program on the development box.Based on Borch-company's S3C2410-S ARM9, experimental development box implements a infrared communications infrastructure lower computer program based on serial meeting SIR standards.By calling the Qt graphics library,using the programming language C++,it achieves a visual infrared communication console PC program under linux system.

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37

Park, Ji Yong. "Communication Design for Online Visual Design Learning." International Journal of Learning: Annual Review 15, no. 2 (2008): 223–32. http://dx.doi.org/10.18848/1447-9494/cgp/v15i02/45605.

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38

Harrison, Tyler R. "Enhancing Communication Interventions and Evaluations through Communication Design." Journal of Applied Communication Research 42, no. 2 (October 2013): 135–49. http://dx.doi.org/10.1080/00909882.2013.825047.

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39

Goldstein, B. C., and J. M. Jaffe. "Data communications: The implications of communication systems for protocol design." IBM Systems Journal 26, no. 1 (1987): 122–37. http://dx.doi.org/10.1147/sj.261.0122.

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40

Zhao, Zhouxiang, Zhaohui Yang, Mingzhe Chen, Zhaoyang Zhang, and H. Vincent Poor. "A Joint Communication and Computation Design for Probabilistic Semantic Communications." Entropy 26, no. 5 (April 30, 2024): 394. http://dx.doi.org/10.3390/e26050394.

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In this paper, the problem of joint transmission and computation resource allocation for a multi-user probabilistic semantic communication (PSC) network is investigated. In the considered model, users employ semantic information extraction techniques to compress their large-sized data before transmitting them to a multi-antenna base station (BS). Our model represents large-sized data through substantial knowledge graphs, utilizing shared probability graphs between the users and the BS for efficient semantic compression. The resource allocation problem is formulated as an optimization problem with the objective of maximizing the sum of the equivalent rate of all users, considering the total power budget and semantic resource limit constraints. The computation load considered in the PSC network is formulated as a non-smooth piecewise function with respect to the semantic compression ratio. To tackle this non-convex non-smooth optimization challenge, a three-stage algorithm is proposed, where the solutions for the received beamforming matrix of the BS, the transmit power of each user, and the semantic compression ratio of each user are obtained stage by stage. The numerical results validate the effectiveness of our proposed scheme.

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41

Barbour, Joshua B., Rebecca Gill, and J. Kevin Barge. "Organizational Communication Design Logics: A Theory of Communicative Intervention and Collective Communication Design." Communication Theory 28, no. 3 (April 16, 2018): 332–53. http://dx.doi.org/10.1093/ct/qtx005.

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42

Guan, Xuelun, and Kaihong Wang. "Visual Communication Design Using Machine Vision and Digital Media Communication Technology." Wireless Communications and Mobile Computing 2022 (March 30, 2022): 1–11. http://dx.doi.org/10.1155/2022/6235913.

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The dynamic design of graphic language can be seen everywhere in life as the digital media era progresses. Graphic designs, such as product packaging, poster design, book binding design, and logo design, are examples of traditional visual design. The print media is the most important factor. Graphic design that is aided by digital media technology is not limited to print but also includes network media. The teaching research of China’s visual design specialty is still in its early stages, the relevant teaching system reform of various colleges and universities is still being explored, and there is no unified standard in the digital information age. As a result, it is critical to conduct in-depth research using scientific and systematic methods in order to pave the way for the development of a domestic visual design specialty in the information age. Simultaneously, the popularization and development of new media have had a significant impact on traditional printing media, breaking the monotony of traditional visual communication and making modern visual design more vivid and intuitive. Visual perception in psychology is introduced into design thinking in this paper. Apart from its expression in art culture, the concept of space also encompasses the physics concepts of time and space, as well as the scientific research theory of visual perception in psychology, which transcends the perceptual cognition level of space in art design.

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43

王, 亚. "The Study of Tactile Aesthetics in Visual Communication Design in a New Media Environment." Design 08, no. 02 (2023): 673–78. http://dx.doi.org/10.12677/design.2023.82086.

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44

高, 梦哲. "Ancient Town Brand Building and Digital Communication—A Case Study of Sijing Ancient Town." Design 09, no. 02 (2024): 679–86. http://dx.doi.org/10.12677/design.2024.92260.

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45

邱, 丽萍. "Research on Brand Image Activation Strategy of Old Brands under the Visual Communication Perspective." Design 08, no. 04 (2023): 3160–65. http://dx.doi.org/10.12677/design.2023.84391.

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46

Minggan Ye, Minggan Ye, Wei Hu Minggan Ye, Yifeng Zhao Wei Hu, Lianfen Huang Yifeng Zhao, and Zhiyuan Shi Lianfen Huang. "Beamforming Design for OFDM Joint Sensing and Communication System." 網際網路技術學刊 23, no. 7 (December 2022): 1449–59. http://dx.doi.org/10.53106/160792642022122307001.

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<p>In this paper, we discussed the beamforming schemes for OFDM-based joint sensing and communication (OFDM-JSC) system, which enable JSC system to use directional beams to detect directions of interest, while communicating with one or more downlink users, thus further enhancing the practicability of JSC system. Specifically, we equip OFDM-JSC transmitter with hybrid beamforming structure and digital beamforming structure in SU-MIMO and MU-MISO scenarios, respectively. For SU-MIMO JSC, we separately considered the hybrid beamforming design with partially connected structure and fully connected structure. For MU-MISO JSC, we separately consider the beamforming design with total antenna array transmit power constraint, and per antenna transmit power constraint. For the four non-convex problems in above two scenarios, we have designed corresponding low-complexity JSC beamforming algorithms and we verified the effectiveness of proposed schemes through numerical simulation.</p> <p>&nbsp;</p>

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47

Virnave, Shantanu. "Design of Antenna for Multipurpose Wireless Communication: Microstrip Antenna." International Journal of Science and Research (IJSR) 13, no. 5 (May 5, 2024): 869–73. http://dx.doi.org/10.21275/sr24514141704.

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48

Lou, Shun, Chen Gong, Nan Wu, and Zhengyuan Xu. "Joint Dimming and Communication Design for Visible Light Communication." IEEE Communications Letters 21, no. 5 (May 2017): 1043–46. http://dx.doi.org/10.1109/lcomm.2017.2657740.

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49

Krähmer, Daniel. "Information Design and Strategic Communication." American Economic Review: Insights 3, no. 1 (March 1, 2021): 51–66. http://dx.doi.org/10.1257/aeri.20200012.

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I study sender-receiver games where the receiver can disclose information to the sender by designing an information structure. I show that by secretly randomizing over information structures, the receiver can virtually attain her complete information payoff even for large conflicts of interest. The key insight is that private knowledge of the information structure induces truthful communication because it allows the receiver to cross-check the consistency of the sender’s report. (JEL C72, D82, D83)

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50

Kang, Shuai, and Guang Yi Luo. "Design of Infrared Communication System." Applied Mechanics and Materials 556-562 (May 2014): 4916–19. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.4916.

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Using C51 SCM, a set of simple infrared communication system has been designed through combining with the infrared devices, and infrared wireless communication has been implemented in short distance within the function. It is different with the general infrared remote controller that doesn’t use coding and decoding chip to realize the coding and decoding of the sending and receiving, but through the SCM encoding and decoding procedures to achieve the sending and receiving of infrared signal, so as to realize the communication function of infrared remote control.

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