Graphic Design Principles Research Articles

APLIKASI MULTIMEDIA EDUKATIF GAMES RSBI (RINTISAN SEKOLAH BERSTANDAR INTERNASIONAL) SMP NEGERI 3 MAJALENGKA

State Junior High School 3 Majalengka as Stubs Internasional Standard School has the burden of responsibility for conducting ICT-based education. It needs to be supported by Human Resounces that are reliable, so that learning systems are manufactured by Human Resources that are reliable, manufactured and prepared in accordance with the rules of education and curriculum used. In presenting the teaching materials are converted into a form of teaching materials animatif, attractive and informative, the need for an analysis and specific research that teaching material are presented in accordance with the wishes of schools and student. So thus the need for this research. With use traditional guidelines of good graphic design principles, the analysis results in accordance with the tastes of the researcher gave the questionnaire, and resume teaching materials offered by Master Teacher, then these materials can be referred to as the Multimedia Educational Games Applications RSBI SMP Negeri 3 Majalengka is right on target and help schools in implementing ICT-based learning. Keywords : ICT-Based Education, RSBI, Multimedia Educational Games Applications

Character Pattern Design to Achieve Digital Media

Character graphic design objectives and principles of digital media completed the implementation of the concept embodied in the visual design of the series. In this paper, the Character in the implementation of digital media graphic design, visual communication line to get through basic and applied to distinguish among the barriers. Character graphics digital media visual resource selection and integration will be the first graphic visual objects, followed by the use of Character graphics source element deconstruction, beaten, restructuring plan, the formation of "Ba Feier" international dance education institutions Character graphics program, the program design process adjust the original design symbol around each of the following important node, expand the design imagination, linking the core elements of the design work is completed.

Structured Mechanical Collage.

We present a method to build 3D structured mechanical collages consisting of numerous elements from the database given artist-designed proxy models. The construction is guided by some graphic design principles, namely unity, variety and contrast. Our results are visually more pleasing than previous works as confirmed by a user study.

EXAMINATION OF KALEMISI WORKS IN KONYA SULTAN SELIM-SELIMIYE MOSQUE IN TERMS OF GRAPHICAL ASPECT

Kalemisi works that is one of adorning arts has long-standing background and accumulation. This accumulation covers a large scale of our culture history and has been existed in many fields. It has been applied on plaster, stone, marble, leather, cloth, paper and wooden surfaces and permanent works have been composed. In this study, hand carved works of Selimiye Mosque were examined. We tried to consider the point regarding graphic elements as line, color, texture, style- shape, size and direction frame. We aimed to evaluate together with graphic principles as entirety - conformity, rate-proportion, rhythm, visual continuity, balance, emphases and contradiction values. Adorning that was applied to area, standing within entirety at current structure of architecture project, conformity in colors, thickness rate at lines, the colors affects to area at lightening amount of mosques, texture that was composed on the wall, the conformity of place to architectural structure of place regarding style and shape, also motifs balance within composition among units regarding dimension with architectural project have been evaluated. Regarding graphic principles, the entirety of study and conformity within this entirety, the rate and proportion that provides this conformity, rhythm and visual continuity of motifs within themselves have been examined. It has been researched that how, in what rate used color and composition density was tried to be provided as balance and the concepts as contradiction, emphasis at those stated points were tried to get benefit in what rate and measure. Keywords: Turkish – Islamic Art, Adorning, Hand carved work, Graphic Design Principles and Components.

An Integrated Approach to Teach Communication Skills Using Educational Technologies

The purpose of this pre-experimental pre-test/post-test design was to identify a group of agricultural education students’ knowledge and perceptions towards the use of integrated educational technologies in the classroom. The population was 17 agricultural education students enrolled in an agricultural communications course over a two-year period. A multimedia content development touch screen resource was integrated into the course as a capstone project. Pretest and posttest evaluations showed 6% to 57% changes in knowledge as a result of the digital capstone project. The most significant changes were seen in storyboarding, multimedia project development, and graphic design principles, indicating that students require additional education in these areas. The lowest percentage changes were seen in the same three competencies each year; revealing that students were most knowledgeable in interviewing, technical writing, and giving public presentations. The findings revealed that students gained the most knowledge in technology development, integration and application, rather than interpersonal skill building. This integrated course provides an example of how educators can design courses that not only increase students’ communications knowledge and skills, but also gain realistic experience by creating their own multimedia content for public communication.

Cognition, Metacognition, and the Design of Maps

With advances in information technologies, graphical displays are becoming increasingly complex and interactive, giving users flexibility to choose and design their own displays. But most people are not trained in graphic design. Do people intuitively choose or create the most effective displays for particular tasks? More generally, what defines an effective graphic? Recent research on cognition of geospatial displays (i.e., maps) has provided empirical validation of cartographic design principles. At the same time, research on metacognition has indicated that people’s preferences for displays do not always conform to the effectiveness of these displays for the task at hand. In this article, I highlight the importance of empirically testing principles of visual-display design and argue for broader education in visual literacy, including principles of graphic design.

Multimedia foundations: core concepts for digital design

Understand the core concepts and skills of multimedia production and digital storytelling using text, graphics, photographs, sound, motion, and video. Then, put it all together using the skills that you have developed for effective project planning, collaboration, visual communication, and graphic design. Presented in full color with hundreds of vibrant illustrations, Multimedia Foundations trains you in the principles and skill sets common to all forms of digital media production, enabling you to create successful, engaging content, no matter what tools you are using. Companion website features a wealth of web resources, illustrations, and video tutorials demonstrating the key techniques presented in the book.* Improve projects with core principles of visual communication and graphic design * Learn necessary strategies for project planning, organization, and asset managment * Understand the intricacy of design and production workflows * Effectively navigate postproduction and the distribution of multimedia content * Utilize the companion web site video tutorials and links to go along with each of the chapters

Application of CAD Secondary Development Technology in the 3D Parametric Design of Mechanical Parts

This paper mainly studies the technology of computer aided design in mechanical design application. In the three-dimensional spring parametrization design as an example, introduced the use of AutoCAD embedded Visual LISP development tools for3D parametric graphic design principles, processes and methods, introduction of computer aided design technology, reduces the design personnel repetitive drawing work, improve the efficiency of design.

Visual Inspiration and Cover Art

An intelligently conceived book, Visual Strategies by Felice Frankel and Angela DePace(1) guides scientists and engineers, seasoned and burgeoning alike, in creating effective visual representations. Visual Strategies provides information about basic graphic design principles, lushly illustrated with real-world exemplars. The book itself is beautifully designed (Sagmeister Inc.) and filled with explanations for how to produce powerful visual representations of data from human brain mapping to astronomy. Visual Strategies is oriented toward users, divided into a color-coded and tabbed set of strategies for deconstructing, designing, and reconstructing data representations. Topics include Form and Structure, Process and Time, Compare and Contrast, Case Studies, and Interactive Graphics. “Before” and “after” images are used to illustrate principles. Readers find themselves leafing through the book, stopping to look at representative transformations that catch their eye, then perusing the principles underlying the redesign. One of the reasons the book works is that it invites nonlinear exploration with nested levels of information. Another key to its success is that it draws upon the breadth of experience of its authors, particularly Frankel, who is an author, science photographer, and research scientist at MIT’s Center for Materials Science and Engineering. Shortly after my copy arrived, I spotted another at the home of colleagues whose research focuses on human brain imaging. We found ourselves and other dinner partners in media arts and nanoscience debating which data transformations worked better. Interestingly, we were not always in agreement about what we found most effective. This aspect is another strength of Visual Strategies; it speaks individually to readers to cultivate unique interpretations of how design principles can improve their data representations. Human beings are visual creatures. Approximately half of our cortex is devoted to visual information processing. By visualizing scientific concepts and findings, we enable readers to synthesize and to understand complex data and their interpretations. In doing so, we also have the opportunity to convey the beauty of the world we explore. In the case of ACS Chemical Neuroscience, this is a world of neurons and their hierarchical organization, endogenous molecules that underlie neuronal function, and molecules designed by us to modify function. We now invite authors to submit images for cover art from manuscripts under consideration for publication in ACS Chemical Neuroscience. Journal covers have long been forums for highlighting papers from each issue. The first ACS Chemical Neuroscience author-contributed cover appeared on the June 2012 issue (http://pubs.acs.org/action/showLargeCover?issue=366642040). This striking image of colocalized Orphan G-protein-coupled receptor 50, Nogo-A, and DAPI in embryonic mouse cortex accompanies an article by Ellen Grunewald and co-workers.2 The cover of the July 2012 issue features a graphic illustration designed by Katie Ris-Vicari and M. Foster Olive highlighting a review on Neurochemical and Neurostructural Plasticity in Alcoholism.3 We welcome your suggestions for cover images and hope you find inspiration in the scientific design principles artfully conveyed in Visual Strategies. Discussing Visual Strategies (left to right): Paul Weiss, Susan Bookheimer, Mark Cohen, Anne Andrews, and Victoria Vesna. David Cohen

Principios básicos de diseño gráfico aplicados a la preparación de ayudas visuales para presentaciones científicas y de negocios

Public speaking ability is an essential skill for managers and other professionals. However, many presentations are described as bad, boring, unfocused, or incomprehensible. One of the main mistakes is the lack of well-designed visual aids. Common examples of these mistakes include, among others, the following: an excessive amount of text, the use of low contrast backgrounds, fonts too small to be easily read, and the abuse of artistic effects. This work presents the results of a systematic review to answer the question, What is a well-designed visual aid? We found that, by applying several simple, basic graphic design principles, it is possible to obtain effective visual aids. In addition, several examples are presented.

The cognitive science of visual-spatial displays: implications for design.

This paper reviews cognitive science perspectives on the design of visual-spatial displays and introduces the other papers in this topic. It begins by classifying different types of visual-spatial displays, followed by a discussion of ways in which visual-spatial displays augment cognition and an overview of the perceptual and cognitive processes involved in using displays. The paper then argues for the importance of cognitive science methods to the design of visual displays and reviews some of the main principles of display design that have emerged from these approaches to date. Cognitive scientists have had good success in characterizing the performance of well-defined tasks with relatively simple visual displays, but many challenges remain in understanding the use of complex displays for ill-defined tasks. Current research exemplified by the papers in this topic extends empirical approaches to new displays and domains, informs the development of general principles of graphic design, and addresses current challenges in display design raised by the recent explosion in availability of complex data sets and new technologies for visualizing and interacting with these data.

A Study on the Application of Graphic Signal Design Principles to Graphical Signs in the Public Information of Korea Standards Service Network(KSSN)

A Study on the Application of Graphic Signal Design Principles to Graphical Signs in the Public Information of Korea Standards Service Network(KSSN)

TownSquare: Designing Community: Applying Graphic Design Principles and Strategies in Rural/Urban Development

TownSquare: Designing Community: Applying Graphic Design Principles and Strategies in Rural/Urban Development

Depicting Dynamics Using Principles of Visual Art and Narrations

In visual art, a single static image frequently represents much more than projected 3D scenery. Artists include subtle visual elements outlining movements, indicating past or future events, sketching ongoing activities, or guiding the observer's attention. Artists have found ways to visualize physical as well as nonphysical dynamics of scenes using graphics techniques. In a sense, we can consider these smart depictions - a form of expressive, visual content adopting the styles of visual art and abstraction techniques. These depictions can serve, for example, as pictograms and signs that advise and assist people. They're also present in comic books and storyboards that effectively present dynamics and narrate sequential processes. Taking smart depictions a step further, we created a system that automatically generates smart, compelling images of 3D scenes that depict dynamics following traditional design principles of visual art, visual narrations, and graphic design, such as those found in comic books and storyboards. These media offer a rich vocabulary of visual art deployed as techniques to facilitate visual communication of a wealth of activities and events in static images. In particular, we can symbolize in a single, static image past, ongoing, and future activities as well as events taking place in 3D scenes. Additionally, we can take into account nonvisual information.

The Nature of Creativity in Cartographic Design with Special Reference to the Barbara Petchenik Map Design Competition

Every other year, the International Cartographic Association sponsors an international map design competition, for children 15 years old or younger, that coincides with its biennial congress. The competition promotes the creative representation of the world. The theme of the latest competition was “A World Map.” The breadth and ambiguity of this theme does not convey information about its conceptual basis or the grounds upon which entries might be judged. In promotional material, words like “creativity” often appear but it is unclear what is meant in this cartographic context. In comparing what cartographers and art educators say about creativity, it is clear that there are perceptual skills and a body of principles of graphic design which cartographers can systematically apply to enhance creative map design particularly when specific problems are being addressed. This paper provides some background on these and other related questions and suggests ways that the Map Design Competition might provide more useful guidance for competitors and judges alike.

Web style guide: basic design principles for creating web sites

From the Publisher: This essential guide for Web site designers provides practical, concise advice on creating well-designed and effective Web sites and pages. Focusing on the interface and graphic design principles that underlie the best Web site design, this book offers invaluable help on a full range of issues, from planning and organizing goals to design strategies for a site to the elements of individual page design. This second edition includes guidelines on designing for accessibility, strategies for maintaining a Web site, details on using style sheets, and much more. This book grew out of the widely used and highly praised Web site on site design created by the Center for Advanced Instructional Media at Yale University (info.med.yale.edu/caim/manual/). At this site, readers will continue to find updated color illustrations and examples to complement and demonstrate points made in the book, as well as useful and current online references. Author Biography: Patrick J. Lynch is director of Web Design and Development at the Yale University School of Medicine. Sarah Horton is instructional technology specialist in Curricular Computing at Dartmouth College. She is also the author of Web Teaching Guide, available from Yale University Press.

Designing Icons for the Graphical User Interface

This paper addresses the issue of designing icons for the Graphical User Interface by exploring what design rules have evolved from established graphic design principles and, of these, which can be successfully adapted for the Graphical User Interface. By going towards a design criterion for computer icons it must be recognised that any change from one medium to another will alter the design possibilities. In order to establish what those design possibilities are, computer icons can be gauged against how other elements of design are used and their design criteria. Magazines direct the reader around the page by creating a positive reading order. Conflict, contrast or harmony can alter the relationship between design elements without altering their size, also optical and not mathematical centres decide the balance of elements used in any design. Computer icons are rarely designed as individuals, but as families. These families of icons are compared against other systems to establish what their requirements are and how this impacts upon icon design.

The Math Studio: Harnessing the Power of the Arts to Teach across Disciplines

In a conference room at the MIT Media lab, six students from Boston's public high schools are using computers to design posters that will be printed on three-foot sheets of paper and hung proudly on the wall. One student's design is a set of colored circles arcing gracefully toward the edge of the page; the circles form a perfectly symmetrical design but also draw attention away from the center of the image. Another student is working on a suite of images made by reflecting a triangle in two perpendicular mirrors. The posters are explorations of the mathematics of symmetry and principles of graphic design. Some of the students think of this as an art class; others think they are learning about mathematics. All of them know that this feels different from their classes at school.

Mapping it out: expository cartography for the humanities and social sciences

Writers know only too well how long it can take--and how awkward it can be--to describe spatial relationships with words alone. And while a map might not always be worth a thousand words, a good one can help writers communicate an argument or explanation clearly, succinctly, and effectively. In his acclaimed How to Lie with Maps, Mark Monmonier showed how maps can distort facts. In Mapping it Out: Expository Cartography for the Humanities and Social Sciences, he shows authors and scholars how they can use expository cartography--the visual, two-dimensional organization of information--to heighten the impact of their books and articles. This concise, practical book is an introduction to the fundamental principles of graphic logic and design, from the basics of scale to the complex mapping of movement or change. Monmonier helps writers and researchers decide when maps are most useful and what formats work best in a wide range of subject areas, from literary criticism to sociology. He demonstrates, for example, various techniques for representing changes and patterns; different typefaces and how they can either clarify or confuse information; and the effectiveness of less traditional map forms, such as visibility base maps, frame-rectangle symbols, and complementary scatterplot designs for conveying complex spatial relationships. There is also a wealth of practical information on map compilation, cartobibliographies, copyright and permissions, facsimile reproduction, and the evaluation of source materials. Appendixes discuss the benefits and limitations of electronic graphics and pen-and-ink drafting, and how to work with a cartographic illustrator. Clearly written, andfilled with real-world examples, Mapping it Out demystifies mapmaking for anyone writing in the humanities and social sciences. A useful guide to a subject most people probably take too much for granted. It shows how map makers translate abstract data into eye-catching cartograms, as they are called. It combats cartographic illiteracy. It fights cartophobia. It may even teach you to find your way.--Christopher Lehmann-Haupt, The New York Times

Avoiding Desktop Disasters: Why Technical Communication Students should Learn about Mechanical Paste up Techniques

Today many students learn how to use desktop programs such as PageMaker and Ventura in technical communication courses; however, few of those students are also learning the principles of graphic design underlying the production of mechanicals. The ability to use a desktop publishing program does not necessarily guarantee the ability to produce well-designed and effective documents. In fact, the growing use of desktop publishing software has led to a proliferation of documents that violate all the rules of good design. This article describes a technical publications course in which students gain a better understanding of the principles of design and layout by using mechanical paste up techniques. When required to use mechanical paste up in addition to desktop publishing software, students acquired a more thorough understanding of grids and white space as well as a greater confidence in their abilities to do page design.