Graphic Arts Research Articles (Page 1)

Denny's house is one of the houses that uses a minimalist architectural concept. The minimalist concept has become a trend in the world of architecture, because of its simple yet effective concept, minimalist design has become one of the most preferred styles by graphic design professionals, architects, and artists (Aliwafa, 2023). The actualization of the Vitruvius architectural concept is based on Vitruvius's theory of Utility (Function Aspect), Firmitas (Strongness and Structure Aspect), and Venustas (Beauty). By comparing Vitruvius's theory with Henry Wotton's Theory, the aim is to actualize the architectural concept in the contemporary design of Denny's house as well as become a case study that can be accepted by the reader's audience. This case study uses descriptive qualitative techniques of data processing that aim to achieve study results on a comprehensive phenomenon. The application of the Vitruvius architectural concept is the focus of discussion in the contemporary design of the facade of Denny's house which becomes a reference for the discussion to examine with an architectural approach. The house becomes the initial locus of discussion by prioritizing the function of beauty, the function of strength or structure, and the function of venustas or beauty. Vitruvius is a theory used to examine the application of design theory by providing a precedent study of Denny's architectural work, which uses a minimalist functionalist theme. This study examines Vitruvius' theory regarding the relevance of design to Denny's home.

With the pervasive integration of computing technologies into everyday practice, digital illustration has assumed a central role within the visual arts and graphic design disciplines. Contemporary digital illustrations are generated primarily through three modalities—raster- based software (e.g., Adobe Photoshop), vector-based applications (e.g., Adobe Illustrator), and three-dimensional modelling environments (e.g., Blender, Cinema 4D, Autodesk Maya). By alleviating many of the technical constraints inherent in traditional media, these digital platforms afford designers unprecedented aesthetic versatility and opportunities for innovative expression. In particular, three-dimensional illustrations may be produced either by constructing diorama-like physical scenes—carefully lighting and photographing models from predetermined vantage points within a fictional framework—or by directly creating volumetric forms in a virtual workspace. The resulting three-dimensional data not only enriches spatial perception but also facilitates the precise communication of intended messages. Employing a descriptive-analytical methodology, this study examines the role and significance of three-dimensional illustration in graphic design, offers a theoretical definition of the discipline, and proposes a coherent taxonomy for its principal subcategories. Findings indicate that applications of three-dimensional illustration extend far beyond animation and gaming to encompass medical, technical, and educational imagery, as well as editorial and print media such as posters and book illustrations. Accordingly, it is recommended that the adoption of three-dimensional illustration be expanded within the graphic design sector in Türkiye.

Rooted in systemic gender inequalities, sexual violence in Switzerland persists amid inadequate institutional responses and a pervasive culture of rape myth acceptance. Until 2022, Swiss law defined rape narrowly as coercion-based and recognised only women as victims, thereby excluding many experiences and reinforcing outdated assumptions. Against the backdrop of public debate and legal reform (2019–2024), this article analyses the collaborative, survivor-led artivism project We’ve Had Enough! Survivors of Sexual Violence Dispel Myths, Break Taboos and Reject Stigma , commissioned by Amnesty International and co-created with a group of ten women – seven rape survivors and three creative collaborators (a photographer, a graphic artist, and a journalist/author). Launched on International Women’s Day 2022, the exhibition challenged dominant narratives by foregrounding testimonies highlighting scenarios often dismissed in legal and social discourse, including assaults by known perpetrators, absent visible resistance, alcohol-related contexts and fragmented memories. Drawing on the framework of reparative aesthetics, the analysis examines how visual and narrative strategies enabled participants to reclaim their stories, foster public empathy and transform shame into collective responsibility. The exhibition’s collaborative process blurred the boundaries between art-based research, activism and survivor advocacy, situating sexual violence within a shared socio-political context rather than as isolated incidents. This approach invited audiences not only to witness but also to engage critically, connecting personal trauma to structural inequalities and institutional complicity. While the revised legislation stopped short of adopting a full consent-based standard, it now recognises ‘a state of shock’ as a form of non-consent – a partial shift towards survivor-centred justice. Without claiming to resolve legal shortcomings, We’ve Had Enough! demonstrates how collaborative, art-based initiatives can challenge stigma, influence public debate and complement broader efforts to promote institutional responsiveness. This case study thus contributes to scholarship on sexual violence, rape myths, reparative aesthetics, collaborative practice, artivism and art-based research, highlighting the potential of creative practice to foster recognition, healing and social change.

SUMMARY This article explores the development of the print collection of the Teylers Museum in Haarlem over the long nineteenth century. The central question is to what extent the collection was the result of a preconceived plan, or rather shaped by personal preferences, external influences, or incidental acquisitions. It takes a chronological approach, starting with the origins of the collection as part of the estate of Pieter Teyler (1702-1778) and ending with the organizational role of curator Hendrik Jacobus Scholten (1824-1907). Within this period, the print collection’s place in the wider institutional context of the Teylers Museum is examined – a museum at the intersection of art, science, and education. In 1886, a room was arranged for the first time for the presentation of works on paper, fulfilling a long-held wish of Scholten and the museum board. While this enabled a small part of the collection to be shown, archival documents reveal that the museum was already in possession of an extensive and valuable collection of prints at the time. Nevertheless, the print collection remained underexposed within the museum, especially in comparison with the better-positioned drawing collection. The opinions of individual curators and directors, such as Carl Gottfried Voorhelm Schneevoogt (1802-1877), and those in their networks, largely determined the collection policy. In addition, broader cultural movements – such as nineteenth-century nationalism – played a role in establishing the preference for Dutch masters. Prints were acquired through auction sales and foreign contacts, often without quality assessments, resulting in an erratic and fragmentary collection. The print collection fulfilled a hybrid role within the Teylers Museum. It was not researched systematically and rarely put on display in the museum, but it was made use of in drawing lessons and as study material for Haarlem societies. Although the collection did not achieve a leading status in the Netherlands, it offers valuable and nuanced insight into the nineteenth-century approach to graphic art. Prints were mainly appreciated as objects of study in the museum, rarely as a focal point. The collection can thus be seen as a ‘patchwork’ of aesthetic, educational, and accidental elements, reflecting changing ideas about art and museum practice.

Graphic artists are united by their search for new ways to express own view of the world using limited means of expression. Drawing evolved in Europe through the works of Rembrandt van Rijn, Francisco Goya, Albrecht Dürer, Honoré Daumier, Jean Ingres, Anthony van Dyck, and others. Among renowned Russian graphic artists are Ilya Repin, Valentin Se-rov, Vasily Surikov, and others. In Armenian visual art, notable figures include Harutyun Shamshinian, Hmayak Hakobyan, Vardges Surenyants, Gevorg Bashinjaghian, Panos Terle-mezian and more. Hmayak Hakobyan's graphic art stands out as a unique and rich phenome-non in Armenian graphic thought. In his works, the line becomes not just an outline but a complete language through which the artist conveys the inner world of the character and the structural harmony of nature. In his approach, drawing often goes beyond its purely technical boundaries and becomes an independent form of artistic expression.

ABSTRACT In medieval blood libels, the putative “victims” were often young boys. By the end of the nineteenth century, however, the accusations changed, and male Jews were now accused of murdering young Aryan women. Female victims in blood libel cases connect the Jewish males accused of the crime to “abnormal” sexuality. These ideas, which were “common knowledge” at the turn of the nineteenth and twentieth century, have not disappeared in Hungary, and this form of prejudice was not abolished by the end of World War II or by socialism. Through the work of Hungarian graphic artist János Major and its reception, this article examines the significance of this distinctive, diffuse, recurring sexual element in blood libel histories. It explores the invisible but deeply embedded system of prejudices connected to the Jewish male body and the ways Jewish topics were present or absent in socialist Hungary in the 1960s and 1970s.

This essay examines the figural politics of planetary dissidence in the graphic art and audiovisual production of the Proceso de Liberación de la Madre Tierra (PLMT, Liberation of Mother Earth Process), a land recuperation and food sovereignty movement led by Nasa communities in the southwestern department of Cauca, Colombia. The PLMT emerged in 2005 to reclaim Nasa territory and mitigate the environmental impact of agroindustry by occupying sugarcane plantations and turning them into communal farms. In a 2019 letter to movements around the world, it announced that the “revolutionary subject” of the struggle to liberate Mother Earth was not the Nasa people, environmentalists or any other human collectivity, but “una sujeta (a female subject): Mother Earth liberating herself.” What does it mean to conceive Mother Earth as the subject of her own liberation? How is this subjectivity envisioned, embodied and enacted? What kinds of solidarity does it potentiate, and how does it position the (human) activist body in relation to others? I consider these questions by engaging with the cultural production of the PLMT’s Minga de Comunicación and its artistic division, DesalambrARTE, around four events that took place between 2019 and 2021: the Second Food March, the Third International Encounter, the mass poisoning of cattle on a liberated farm and a campaign to socialize the PLMT’s platform within Nasa communities. Building on Stacy Alaimo’s concept of “transcorporeality,” I argue that these works render Mother Earth perceptible as a political subject by forging transcorporeal solidarities which imbricate activist bodies in the bodies of other beings and the body of the earth. Transcorporeal solidarities arise from gestures and substances that materially transit across bodies: in the case of the PLMT, from the practices of cutting down sugarcane, sharing food and performing forms of embodiment that weave together human and non-human life.

The creation of this relief print graphic art themed on the lotus plant employed the Consortium of Art method (Panduan Tugas Akhir Pendidikan Seni Rupa, 2021:78), which comprises five stages: preparation, elaboration, synthesis, concept realization, and completion. The preparation stage involved exploration, observation, and the collection of references related to the lotus. Elaboration included an in-depth study of the lotus’s visual form and philosophical meaning through literature, images, and videos. The synthesis stage produced a visual concept design that combined the aesthetics and symbolism of the lotus. Concept realization was carried out through the technical process of relief printing, starting from sketching, digital processing, carving, and printing to finishing. The completion stage encompassed exhibition, cataloging, and artwork evaluation. Of the ten works produced, the lotus was presented not only as a visual object but also as a symbol of strength, patience, serenity, and usefulness. Challenges encountered included limited initial ideas, scarce literature on lotus symbolism, and technical issues such as inconsistent ink mixtures and printing plate misalignment. These obstacles were addressed through academic guidance and intensive visual exploration. This creative process provided a profound understanding of the artistic process alongside technical skills in printmaking, resulting in artworks that serve not only as artistic achievements but also as a medium for conveying philosophical messages that inspire viewers to reflect on life’s values embodied by the lotus flower.

It is unsettling to contemplate the gesture of the Paleolithic man, leaving the imprint of his hand on the wall. The discovery of bear claw marks on cave walls will trigger the gesture of also leaving his own mark as a way of signaling territory. The sight of a handprint, left by a stained hand pressed against the wall—the spark of recognition of one’s own trace, the resemblance to the master animal from which the benefit of shelter and territorial marking had been learned— was the reason behind the later, now conscious act of perpetuating in stone that extremity auction, so distinctive, which is the hand. We consider that the owners of the hands depicted were not the ones who created the hand panels, but only the models. Hand representations are the oldest known artistic expression to date, created by Neanderthal artists Even assuming they were unaware of the possibility of preserving their work and memory, they transcended prehistory to become the first graphic artists to leave behind their creations as part of humanity’s artistic heritage.

The article studies the final work of Henri Matisse, an outstanding French artist of the 20th century, - the ensemble of the Chapel of the Rosary in Vence (1947-1951). The methodology used in the work: philosophical and historical-cultural approach, artistic-figurative analysis. The scientificnovelty of the work lies in the formulation and solution of the main task: to form a comprehensive, multifaceted, and at the same time holistic, view of the Chapel of the Rosary, to consider it not only as an artistic object that adequately refracts the alternative side of its creator’s talent, but also to consider it as a phenomenon that arose at the intersection of several significant cultural processes (avant-garde, fauvism, the search for new forms of morall values in the period after the Second World War, renovation of sacred issues in the philosophy and art of the 20th century).On the one hand, the chapel represents the result of Henri Matisse's creative path. One of the acknowledged fathers of the European avant-garde reveals here the various facets of his talent as a graphic artist, painter, and virtuoso decorator, combining them in a unique, harmonious, comprehensive solution in its integrity. On the other hand, the possibility of building the Chapel of the Rosary largely determined the process of renewal of sacred art in the 20th century. Father Marie-Alain Couturier (1897-1954) plays a special role here. During the period of interaction between sacred and modern art, the encyclical Mediator Dei of Pope Pius XII and the concept of the philosopher Jacques Maritain (1882-1973), discussed in the article, are also significant. As a result, the Chapel of the Rosary represents an example of harmonious interaction between the fields of religious and contemporary art. It reflects profound changes in the spiritual sphere, including the discovery of the originative possibilities of the avant-garde and the manifestation of religious art, its activation through the involvement of modern masters, who significantly expanded the field of its expressive possibilities. Matisse's signature style does not weaken the spiritual tone of the Chapel of the Rosary, but on the contrary, enhances and sharpens it, allowing the artist to achieve nobility of lines, expression and monumentality of images.

The article deals with the illustrations by Russian artists to the famous fairy-tale novel “The Three Fat Men” by Yu.K. Olesha, written 100 years ago — from the drawings for the first publication (1928) to the design of recent editions. The author sees his task in recalling some forgotten or underestimated works, to characterize in detail the graphic cycles that can be called the most successful and significant. An attempt is made to identify emerging trends in the visual reading of the anniversary novel, to draw attention to common places and differences in its interpretation. The fairy tale is still a part of children’s reading circle, is constantly reprinted, and the accumulated experience of its pictorial interpretation may be of interest for modern graphic artists, publishers, librarians, book historians, art critics, and for the average reader. The issues related to the illustration of “The Three Fat Men” have already been partially addressed in the book by the literary critic B.E. Galanov, in articles and monographs about individual artists and the history of children’s books in general, in reviews of new editions of the fairy tale. However, these publications do not close the topic, but on the contrary — stimulate its further research, provide valuable material for analysis and generalizations. The author emphasizes the complexity of Yu.K. Olesha’s novel for visual embodiment, the danger of too literal translation of the writer’s metaphorical language into visuals. The works of the first two illustrators of the fairy tale had a noticeable influence on their followers. While M.V. Dobuzhinsky was at the origin of a playful, buffoonish, predominantly comic reading of the story, V.I. Kozlinsky emphasized the theme of rebellion and the social conflict of the characters. Both of these lines found an interesting continuation in the works of artists of the second half of 20th century. The most successful and significant of them are the illustration cycles by B.M. Kalaushin, V.N. Goryaev, M.A. Bychkov, which were recognized by readers and critics and are often reprinted in the 21st century.

This research article is part of Brand Identity Design to Communicate Archetypes by Using the Ikigai Philosophy. The objective is to develop a framework for designing brand identity inspired by the Ikigai philosophy. A qualitative research method was employed, using focus group discussions conducted in three rounds, each with 4–6 participants. The study applied the Best Practice criteria to select design works (population) and used purposive sampling to choose a sample group. The sample comprised 310 brand identity design works that had won international awards between 2017 and 2023. These works were analyzed to extract key elements of brand identity design, integrating them with upcoming design trends for 2024. Input was gathered from 18 experts across three categories: (1) senior experts in graphic design and art direction with over 10 years of experience, (2) emerging designers with at least 7 years of experience, and (3) brand executives and brand marketers with at least 7 years of experience. These experts evaluated and selected relevant design elements. The findings reveal connections to diverse archetypal images across multiple dimensions: 1) Samurai Archetype, 2) Geisha Archetype, 3) Priest Archetype, 4) Shokunin Archetype, and 5) Shogun Archetype.

Merdeka Belajar Kampus Merdeka (MBKM) is implemented in universities provides opportunities for students to study outside their study programs and campuses. This program encourages autonomous and flexible learning, so that students can achieve learning outcomes more innovatively. To achieve the expected goals both learning process and learning outcomes assessment that run optimally are required. Therefore, this study aimed to describe the implementation of : 1) learning process for craft and graphic arts for MBKM participants; 2) assessment of learning outcomes for craft and graphic arts for MBKM participants. This research used qualitative descriptive method. The participants of this study were all students who programmed MBKM in fine arts study program of FBMB Mandalika University of Education in the academic year 2024/2025. Data were obtained through observation, interviews, and documentation. It is found that the steps of learning process, are a) pre learning activities; b) learning activity or process of creating craft art and graphic art; c) finishing work of art. The aspects to be assessed in graphic art assessment, namely: a) technique; b) material; c) design; d) function and e) aesthetics. The aspects to be assessed in craft art assessment namely a) idea; b) technique/media; c) creativity. The implication of learning process and assessment are the students’ art work combined aesthetic and functional elements in everyday objects.

The paper presents a comparative review of lithological pattern standards used abroad and in the Russian Federation. There is a difficulty in employing foreign standards in the graphical representation of basin modeling results. The author provides the main characteristics of the lithotype editor from the modeling software. The potential to customize visualization of the basin models was evaluated. The author describes the process of pattern adaptation from the standard of graphic arts for the State Geological Map (scale of 1 : 200,000) to all lithotypes included in the software library. It is proposed to use coloured lithological patterns to increase the informative value of the lithotype distribution model visualization. There are additionally defined patterns for the graphic representation of mixed lithotypes used in both conventional and unconventional petroleum systems. Software-adapted lithological patterns can be used both for constructing the simplest one-dimensional models of boreholes and for complex, continuously operating three-dimensional basin models. Illustrative differences between the adapted patterns from the standard of graphic arts for the State Geological Map (scale of 1 : 200,000) and standard software library serve as an example of visualizing a one-dimensional basin model for the Kola Superdeep Borehole.

В статье рассматривается развитие темы Великой Отечественной войны в советском и российском изобразительном искусстве второй половины XX века из собрания Государственного художественного музея Алтайского края. Дан краткий анализ основных тенденций в творчестве художников, посвященном этой теме: усиление мажорной тональности, гордости за Победу; психологизм образов; символико-метафорические решения темы, перенесение в современный и вневременной контекст. Анализируется трансформация образов, изменение живописного и пластического языка, сюжетов, развитие сюжетно-тематической картины на примерах произведений 1950–2000-х годов из собрания Государственного художественного музея Алтайского края. Рассмотрена выставка «Война и судьбы» как возможная форма презентации темы. В исследовании использован историко-культурологический подход, иконографический и иконологический методы анализа художественных произведений. The article discusses the representation of the Great Patriotic War in Soviet and Russian fine arts during the second half of the 20th century from the collection of the Altai State Art Museum. The aim of this research is to identify the features of how the war theme is portrayed in artworks from the 1950s to the 2000s. These findings serve as the basis for the exhibition “War and Fates,” which commemorates the 80th anniversary of the Victory in the Great Patriotic War. The research was conducted using artworks from sixteen artists, including painters, graphic artists, sculptors, and masters of decorative and applied art, all from the collection of the Altai State Art Museum. The iconographic method allowed the authors to identify the subjects and characteristics of the images. The iconological method was used to uncover the deeper meanings and connections between the works and the artists' personalities and the era in which they were created. The historical and cultural approach allowed for the exploration of biographical, historical, and cultural factors that influenced the representation of the heroic feat of the Soviet people in the Great Patriotic War in the works of the artists under consideration. The article provides a brief analysis of the main trends in the artists' works, including the emphasis on major tonality and pride for the Victory, the use of psychological elements in the images, and the symbolic and metaphorical solutions to the theme, which often transcend time and context. The article also examines the transformation of images, changes in pictorial and plastic language, and the development of thematic pictures. Finally, the article considers the exhibition “War and Fates” in the Altai State Art Museum as a potential form of presenting this theme.

In this article, I critically consider the representation of right-wing extremism in This World Can’t Tear Me Down , a semi-autobiographical animated television series by the Italian graphic artist Zerocalcare. In sustained dialogue both with Zerocalcare and leading Italian political philosopher Roberto Esposito and others, I explore the origins and nature of community with a special focus on what follows from the practical impossibility of containing and expelling extremism from contemporary social and political life. My argument focuses on the importance of ‘immunity’ to establishing and maintaining a community. For Esposito, communities come into being as a consequence of immunitory practices which, among other things, mark the boundaries between what is safe (and thus socially acceptable) and what is unsafe, as well as between the familiar and the strange. While immunization does positive work by marking the limits of a community in order to protect its members, I will explain how it does so not by isolating and removing threats to a collectivity’s vitality and integrity, but rather by introducing into collective life some measure of precisely that which threatens to undermine and destroy it. It is only via such a ‘homeopathic protection practice’ that a community becomes equipped to survive, and its members able to thrive and live their lives fully.

This article presented a theoretical study that aimed to identify applications of metrics in design. The study drew on established experiences from other fields that employed metric studies. It did so in order to propose an appropriate definition for the design discipline. The objective of this study was to conceptualize the phenomenon of design metrics. The scope was developed through a lexicographic analysis of international literature, using the OpenAlex database to map the range of possible metrics applicable to the design. Subsequently, we developed a theoretical framework based on a heuristic approach, employing artificial intelligence to initially identify relevant metric possibilities. Subsequently, clustering techniques were employed to map the associated disciplines and the contexts in which design was subject to quantification. The study identified three core application domains for design metrics. The initial aspect pertained to user experience, with concomitant extensions into the domain of customer behavior analysis. The second involved metrics applied to the development of systems and software, with a focus on improving the management of services and products. The third was directly connected to the second but emphasized the development of systems oriented toward physical objects or artifacts. The study proposed a theoretical model for design metrics, grounded in the tradition of graphic arts, which defined the key elements for its consolidation: the object of analysis, metric methodology, analytical variables, and mathematical application purposes.

This Beyond the Text submission presents a series of three graphic magazines (zines) as part of a research project about how people living with dementia experience their neighbourhoods and communities of place. The zines were produced through a collaboration of a graphic artist, academics and a small group of people living with dementia and/or family carers. The zines were designed to reflect the wider findings of the research. The idea to produce the zines came from people living with dementia themselves who were keen that the research findings reached beyond at academic audience, while at the same time were not turned into ‘yet another leaflet about dementia’. We have published the findings from the research in a number of academic formats, but have not yet had the opportunity to showcase the zines to a wider, and more diverse audience beyond our circle of research supporters, stakeholders and research participants.

Similarly to how culture, consumerism, and communication technology impact art and visual communication design commodities, so do these factors as well. How art was seen and used underwent a profound transformation due to the consuming society. Graphic design goes above and beyond all other forms of visual art when it comes to communicating meaning. Using visuals to explain a service or product is a fundamental aim of graphic design. Having a common language isn't necessary when one can visually express their emotions. Above all else, people depend on their sight. As a first step, take note of and make sense of what is immediately around the researchers. Knowledge conveyed visually is easier to retain. For this analysis, visual communication design relied on the work of several other scholars. Since the dawn of modernity, visual communication design has grown in both popularity and practicality. Visual communication design is increasingly prevalent in advertising and social media, and it seems to be everywhere. Today, visual communication is integral to modern life and is used extensively. Graphical representations of information are essential due to their ubiquitous nature in everyday life. Because it's simple to grasp and gives individuals a chance to showcase their own style, visual communication is very popular. Images are fundamental to visual communication. More powerful computers and more useful network applications will lead to virtual reality's meteoric rise in popularity. Research into virtual reality's potential use in product packaging and its general adoption could be useful. Here the researchers take a look at graphic composition art as it pertains to visual communication design for packaging. Based on the present worldwide and local status of virtual panorama development, this article delves into the ideas, features, development, and applications of virtual reality (VR). The visual symbols of innovation, virtual reality technology package design, and graphic composition art are all covered in this tutorial.

Culture, commerce, and communication technology also impact visual communication design and art commodities. The consuming culture caused a sea change in the value and application of art. Graphic design is second to none when it comes to the visual arts' ability to communicate meaning. Creating visual representations of product or service details is a key component of graphic design. The need for a common language is rendered obsolete when emotions are conveyed graphically. The visual system is the most important sense for humans. Step one is to take stock of one's immediate environment and make sense of the objects, people, and situations there. Information presented visually is more likely to be retained. The analysis of visual communication design was based on the work of several academics from different disciplines. The modern age saw the rise and practical use of design for visual communication. Visual communication design is omnipresent, thanks to the prevalence of ads and social media. In today's world, visual communication is not only commonplace but also essential. Visual communication is crucial since it is present in every aspect of the everyday lives. Visual communication is highly favoured by individuals due to its ease of understanding and the ability it provides to convey own aesthetic preferences. Graphics have a significant role in visual communication. The proliferation of powerful computers and useful network applications will propel virtual reality forward. Research into these areas could be useful for advancing virtual reality technology and its use in product packaging. The graphic composition art that is the subject of this essay is visual communication design for packaging. In light of the present status of virtual panorama development on a global and local scale, this essay delves into the notions, characteristics, evolution, and uses of VR. Among the many topics covered in this manual are graphic composition art, visual emblems of innovation, and the design of virtual reality technology packaging.