Graphic Design Process Research Articles

ПРОЕКТНЫЙ ПРОЦЕСС В ГРАФИЧЕСКОМ ДИЗАЙНЕ: УСЛОВИЯ РЕАЛИЗАЦИИ

The article shows that the study of design process as a special activity in graphic design is an art history problem and requires special research methods. It is scientific methodology that makes it pos-sible to achieve reliability in art history knowledge. Attention is drawn to the fact that since the 1960s the methodology of systems theory and activity theory has been a keynote for the development of the design process knowledge in various schools of graphic design. This methodology meets academic criteria and has not lost its value in our days. Based on the principles of this methodology the article analyzes different types of the graphic design process. The objective processes associated with the use of computer technologies in design appear to be the norm and the paradigm of functioning in modern graphic design. Thus, the idea of existence of numerous computer-aided design types is justified. The design objectives of diverse complexity serve here as criteria. On the basis of these objectives traditional, original, and innovative designs are out-lined and comparatively analyzed in the article. It is noted that computer technologies, first, act as an effective tool for the implementation of the forms envisioned by the designer. Second, a computer can be regarded as a creative partner, an agent. Computer technologies possess a unique set of properties and features that open up new opportunities for a creative practice in the field of graphic design. The boundaries of the design practice are changing, and new areas of collective creativity are being estab-lished. In this case the graphic design process is a process that involves efforts of many people. So, individual creativity of professional designers appears to be replaced by the collaboration of interdisci-plinary experts. It is also noted that the growth of computer-aided technologies is too fast for graphic designers to develop a theoretical understanding of them. It results in the duality of assessing the role of methodol-ogy and experience in the graphic design process. On the one hand, the use of design methodology improves efficiency of the design process in comparison with the approach based on experience. On the other hand, there occurs the “extraction” of methodology from the design practice. Research meth-ods of the graphic design process are created under the influence of not only intradisciplinary process-es but also with a view to the messages from other areas of academic knowledge. An example is the use of synergy as a special way of understanding empirical facts accumulated in various fields of aca-demic knowledge. Namely, computer-aided design reveals the non-linearity, a large variety of forms. Herewith, any calculations applied to a huge number of graphic elements change the visual result, creating a new version of the form. It is noted that the use of high-tech computer technologies is quite specific about training designers.

Color image design based on machine learning and SVM algorithm

In today’s society, graphic design, as a popular image processing technology, plays an increasingly important role in people’s lives. In the specific operation process of graphic design, It is no longer restricted to the traditional development mode, such as file format and other factors. With the development of computer network technology, people promote the development of graphic design by constructing color management system. At the same time, the construction of color management system can help people to change colors and define colors when they process image information and output pictures. In the process of printing pictures, in order to make the colors used in the design process clearly printed out and without color difference, there are still many problems to be considered. First, we need to consider the unexpected situation and the complexity of image processing. Based on the introduction of computer learning, this paper will discuss and study the development of graphic design by SVM theory.

The effect of optimised patient information materials on recruitment in a lung cancer screening trial: an embedded randomised recruitment trial

BackgroundWritten participant information materials are important for ensuring that potential trial participants receive necessary information so that they can provide informed consent. However, such materials are frequently long and complex, which may negatively impact patient understanding and willingness to participate. Improving readability, ease of comprehension and presentation may assist with improved participant recruitment. The Systematic Techniques for Assisting Recruitment to Trials (MRC START) study aimed to develop and evaluate interventions to improve trial recruitment. This study aimed to assess the effectiveness of an optimised participant information brochure and cover letter developed by MRC START regarding response and participant recruitment rates.MethodsWe conducted a study within a trial (SWAT) embedded in the EarlyCDT Lung Cancer Scotland (ECLS) trial that aimed to assess the effectiveness of a new test in reducing the incidence of patients with late-stage lung cancer at diagnosis compared with standard care. Potential participants approached for ECLS were randomised to receive the original participant information brochure and accompanying letter (control group) or optimised versions of these materials which had undergone user testing and a process of re-writing, re-organisation and professional graphic design (intervention group). The primary outcome was the number of patients recruited to ECLS. The secondary outcome was the proportion of patients expressing an interest in participating in ECLS.ResultsIn total, 2262 patients were randomised, 1136 of whom were sent the intervention materials and 1126 of whom were sent the control materials. The proportion of patients enrolled and randomised into ECLS was 180 of 1136 (15.8%) in the intervention group and 176 of 1126 (15.6%) in the control group (OR = 1.016, 95% CI, 0.660 to 1.564). The proportion of patients who positively responded to the invitation was 224 of 1136 (19.7%) in the intervention group and 205 of 1126 (18.2%) in the control group (OR = 1.103, 95% CI, 0.778 to 1.565).ConclusionsOptimised patient information materials made little difference to the proportion of patients positively responding to a trial invitation or to the proportion subsequently randomised to the host trial.Trial registrationClinicalTrials.gov, NCT01925625. Registered on 15 August 2015.Study Within A Trial, SWAT-23. Registered on 12 April 2016.

Graphic Creative Design Based on Subconsciousness Theory

In order to explore the role of the subconsciousness in creative graphic design and the physiological response mechanism of the brain in the creative inspiration emergence of the graphic design, this study explores the relationship between the subconsciousness and the creative graphic design. The study first gives an overview and definition of unconsciousness of the brain, and then reveals its role in the process of artistic creation with the posters of famous design masters as examples. In addition, in order to study the changes of EEG signals in creative graphic design, the contrast experiment is designed with urban image graphic creation as the example, and the changes in subconsciousness of the brain and the dynamics of EEG signals during the whole process from the fuzzy concept to the development of creative inspiration are recorded during the graphic design process. This paper research is helpful to guide the designer to face up to the brain subconscious impact in creative design, a more scientific cognitive brain subconscious relationship with graphic design, improve the use efficiency of creative thinking.

The Parallels Between Mass Communication and Graphic Design for Infrastructures

This research paper explores the parallels between mass communication and graphic design in the context of infrastructures. Mass communication and graphic design are two distinct fields with their own principles and methodologies, yet they share common ground when it comes to designing and conveying messages effectively. This paper examines how graphic design principles and practices can be applied to infrastructure projects to enhance their visual communication and public engagement. Additionally, it explores how mass communication strategies can inform and influence the graphic design process for infrastructures. By recognizing the synergies between these two disciplines, infrastructure designers and communicators can create more engaging and impactful public spaces.

Investigating the effects of client imagery on the ideation process of graphic design

Prior work has examined how images supplied by design clients influence the output of graphic design ideation, however, little is known about the effect upon the ideation process itself. This article reports on an empirical study conducted with graphic design students engaged in design ideation. Findings are based on think-aloud protocol data, as well as participants' subjective ratings of their ideation process using factors based on the principle of design flow. Results show some statistically significant effects on the design process of the participants, particularly increases in their reported anxiety and sense of involvement in the task. In addition, some correlations are identified between design output resulting from exposure to client provided images, and the process of designing those outputs.

A study of the influence of visual imagery on graphic design ideation

Although existing literature shows that graphic designers collect and access visual imagery as part of their design process, the influence of such material on the process of ideation and the creative output of design is generally unclear. Therefore, we carried out a study with 18 graphic design students to better understand the effects of supplying specific types of images during the ideation phase on the creative outputs of the graphic design process. The findings demonstrate that exposure to the images had minimal measurable effect on the creativity of the design outputs, as rated by experts judges and study clients. The participants, however, reported positive benefits from the availability of visual images to their experience during the ideation phase of the design process.

O USO DE MODELADORES TRIDIMENSIONAIS PARAMÉTRICOS NA FORMAÇÃO DE COMPETÊNCIAS DE REPRESENTAÇÃO GRÁFICA E RACIOCÍNIO ESPACIAL NO PROCESSO DE PROJETO

Este trabalho apresenta reflexões acerca dos atuais paradigmas de representação e desenvolvimento de projeto de produtos vinculados aos processos de ensino e aprendizagem da expressão gráfica. Tais reflexões estão relacionadas a experiências pedagógicas em andamento em cursos de graduação em Engenharia Mecânica e Engenharia de Produção. Um dos principais argumentos apresentados é a indissociabilidade entre conteúdos de representação gráfica e a prática de projeto. Essa vinculação entre áreas intrinsicamente relacionadas nem sempre foi a prática corrente nas estruturas curriculares dos cursos de engenharia, arquitetura e design. Historicamente, a área de representação gráfica frequentemente se posicionou de forma independente e não integrada com conteúdos de engenharia e, em última análise, com o próprio processo de projeto. Nessa direção, são apresentadas algumas reflexões acerca dos aspectos recentes relacionados ao ensino da representação gráfica, considerando uma perspectiva histórica da evolução dos sistemas digitais de representação do projeto. A partir dessas reflexões, são explicitadas as experiências em andamento com a utilização de modeladores tridimensionais paramétricos.

Significance of sketch in creativity process related to graphic design education

Sketching holds significance for graphic design as well as it does in any other design process. The contribution of sketching to graphic design process comes in the form of generating new ideas and developing concepts. The solution of a design problem will not be the best one, if the designer uses technological tools, such as computers, directly in order to solve the design problem. The significance of sketching includes also the graphic design education. Even though computers are the mostly used tools in today's graphic design education, students should grasp the benefits of sketching. In this study, the role played in creative process by sketches that students do related to their projects during a course that is in the curriculum of a university’s Graphics Department will be discussed.Keywords: Design, graphic design, sketch, design process, creativity.

O PAPEL DO DESIGN GRÁFICO NO PROCESSO DE RECUPERAÇÃO DE CIDADES EUROPEIAS: ALGUNS CASOS

Graphic design draws the form of the interaction among different entities. Citizens, administrators, institutions and local investors are specific categories of entities: they are all users (sometimes also providers) of urban services.Graphic design is a useful tool to visually coordinate the sometimes contrasting interests of city users and stakeholders towards the use of public services and facilities.The graphic design coordination process includes: - focus on specific local needs (what has to be visually represented)- highlight on addressees of the design project (communication targets): i.e. inhabitants and/or foreign investors, tourists, etc.- design out put that, according to the previous steps, may include a range of products, from wayfinding system (integrating i.e. public transport, pedestrian walks, monuments' signage), to social and civic campaign encouraging some habits, like cultural integration (i.e through posters and flyers), to place branding campaign (touristic promotion abroad), etc.As result, graphic design can contribute to reinforce and rationalize the offer of local services. This affects the way people perceive opportunities and what use they can make of public services and spaces.Best achievements are reached when the graphic design process is integrated to urban design and urban planning strategies.A selection of case studies and best practices will be shown in the following pages. Some Western European cities like Bristol, Amsterdam and Berlin have in the last years adopted a combination of urban design and communication design strategies. The presentation of these case histories may offer interesting methodologies in response to the need of an increment of the quality of the offer of local services and welfare.

Comparison of Non-stimuli, WordNet and Related Search Terms in Creative Concept Generation

This paper examines the effect of related search term stimuli during concept generation in the game graphic design process by comparing the creativity of three conditions: non-stimuli, WordNet, and related search terms. The results indicated Google-related search terms are most effective, producing creative results among the three conditions. Thus, intelligent results that are based on collective knowledge are more effective than no stimuli and WordNet, which is organized into synonym sets, each representing one underlying lexical concept.

An Inquiry on Graphic Design Process for Creating Visual Narratives - Focused on the Visual Narrative Project <Visible Voice> -

An Inquiry on Graphic Design Process for Creating Visual Narratives - Focused on the Visual Narrative Project <Visible Voice> -

Information Communication and Technology (ICT) and the Challenges of Ideation in Graphic Design: An Activity Theory Focus

The introduction of technology into graphic design education has resulted in some challenges within the pedagogy of ideation. In ideation, - generating, developing, and testing ideas leading to solutions - influences of technology are creating new possibilities for students to conceive ideas differently from the traditional methods. Using activity theory as a lens, the paper discusses the ‘disturbances’ in the ideation process of graphic design with ICT, especially within large class in a developing country. It concludes with a call for a review of pedagogical issues of ideation with a conviction that such disturbances can be overcome with the right pedagogy, with ICT as a support in the ideation process. Whatever our scepticism about ICT, there is some important aspects that can only be addressed if we adopt some of the new digital technologies, by modifying the current pedagogy.

The Application of CAD Secondary Development in 3D Parametric Graphic Design

This paper introduces the principle of applying the embedded development tool Visual LISP in three-dimensional parametric graphic design in AutoCAD environment. With the parametric design of 3D straight-toothed spur gear as example, an elaborate description of the process and method of 3D parametric graphic design based on Visual LISP is presented.

가상계측기반 실시간 영상유도 자동비행 시스템 구현 및 무인 로터기를 이용한 비행시험

This paper investigates the implementation and flight test of realtime vision guided autopilot system based on virtual instrumentation platform. A graphical design process via virtual instrumentation platform is fully used for the image processing, communication between systems, vehicle dynamics control, and vision coupled guidance algorithms. A significatnt ojective of the algorithm is to achieve an environment robust autopilot despite wind and an irregular image acquisition condition. For a robust vision guided path tracking and hovering performance, the flight path guidance logic is combined in a multi conditional basis with the position estimation algorithm coupled with the vehicle attitude dynamics. An onboard flight test equipped with the developed realtime vision guided autopilot system is done using the rotary UAV system with full attitude control capability. Outdoor flight test demonstrated that the designed vision guided autopilot system succeeded in UAV's hovering on top of ground target within about several meters under geenral windy environment.

Interplay of computer and paper-based sketching in graphic design

The purpose of this study is to investigate student designers’ attitude and choices towards the use of computers and paper sketches when involved in a graphic design process. 65 computer graphic technology undergraduates participated in this research. A mixed method study with survey and in-depth interviews was applied to answer the research questions. This result shows that sketches and computers as design tools help students generate ideas in the early stage of design. Students’ preferences to use sketches or computers differ, since each tool has its own advantages and disadvantages.

The Use of Art and Design Images in Graphic Design Courses in Higher Education

A project to investigate the use of art and design images in higher education courses was undertaken as part of a Knowledge Transfer Partnership between the Bridgeman Art Library Limited and the London College of Communication, University of the Arts London. The principal objective of the project was the exploration of how art and design images complement the educational experience and how they inform the creative process of graphic design. The project consisted of various stages: meeting with employees at The Bridgeman Art Library to document their experiences with image requests from graphic design clients; creating sets of suitable images; licensing images to students and their instructor at the university; surveying the students about their experiences; and obtaining the instructor's feedback. The goals were to explore the ways in which art and design images can be used in teaching and in student coursework and to investigate whether the licensing of carefully selected sets of images, rather than the entire database, to educational institutions could work as a business model.

Craft-based Techniques as Heuristic Tools for Visual Investigation: Redefining the Role of the Handmade within Graphic Design Process

Craft-based Techniques as Heuristic Tools for Visual Investigation: Redefining the Role of the Handmade within Graphic Design Process

Dynamic Interactive Aesthetics

In this paper, I independently build on an earlier collaborative effort with Dr. Cynthia Breazeal (MIT Media Lab) to integrate social and cultural theory and applied graphic design theory and practice into the participatory design process of a socially intelligent robot prototype called Kismet. My objective is to explore the feasibility of facilitating audience interaction in the graphic design process of this robot prototype-”potentially a mass-produced consumer product-”through the appropriation of a simple, communication convention: an email message. Steinhauer's (2000) Interactive Aesthetics (IA) is applied with the creation and distribution of an electronic survey that informs the target mass audience of an interdisciplinary design project underway and canvasses responses from the members of the mass audience regarding the aesthetic design of Kismet the robot prototype. The empirical results this paper reports supports the author's hypothesis that graphic design conventions, techniques, and strategies can facilitate interaction between the target mass audience (especially the global mass audience) and other professional participants in a participatory design process. However, further analysis of these results uncovers a need for a differentiation between static and dynamic communication artifacts. While Interactive Aesthetics works for static two-dimensional communication artifacts, an integration of a more dynamic interactivity is necessary in a participatory design process that involves a communication artifact like a three-dimensional robot prototype, which has the ability to display non-verbal communication-”fluid emotive facial expressions-”when it communicates with another human being in a given public space. Most communication frameworks assume that emotional expression should be understood in terms of the exchange of socially assigned static symbols. While written or spoken linguistic communication is indeed accurately portrayed as a series of physically arbitrary, static symbols, much emotional expression (such as paralinguistic intonation in speech, expressive facial dynamics, emphatic gesture, etc.) is better described as analog representation. That is, rather than encoding information in physically arbitrary, static symbols, analog representation embeds information in a physical dynamic which is structurally analogous to the information it represents. What is the implication for the participatory design process? Whether mere images on a screen (e.g. an avatar) or a full-scale socially intelligent robot (e.g. Kismet), the aesthetic design of a dynamic form requires simulations through analog parameters. Dynamic Interactive Aesthetics is a term introduced here to describe the facilitation of audience input through simulated analog parameters to achieve the aesthetic design of a dynamic communication artifact. By adopting Dynamic Interactive Aesthetics, I can elicit feedback from the target audience that becomes the basis for determining the 'form and function' of a dynamic design. Audience input regarding the design for a dynamic, affective prototype based on analog simulation is better able to respond to the audience's aesthetic preferences. The critical vernacular that creative design professionals use to modify and edit static symbols that represent information becomes simplified for the target audience through the use of conventional, user-friendly control devices that modify simulated analog parameters. As a result, the vernacular of applied design criticism that includes the application of varying aesthetic treatments to static symbols needs to be mathematically translated into digital signals with continuous intensities of measurable aesthetic properties. By allowing the target audience to directly modify these analog parameters (e.g. the ratio between simulated mouth curvature and a simulated happiness parameter) the target user(s) can generate a customer-specific (or culture-specific) affective interface. By offering users a series of such expressive parameters, professional designers can collaborate with a target audience to create an affective synthetic interface that responds to a wide variety of aesthetic and functional needs.

2501 開発設計上流における機能から構造へのアプローチ : シンキング CAE 手法への試み

The synthesis process from the function design to structure design is most important for such new creative development. It is effective to combine the graphical design process, the function designs process and also the structure design process, based on a development concept. The usual prediction technology by forward CAE is poor at a creative process. "Visual Thinking", to help the imagination to new structure/design, and "Thinking CAE", to grasp the essence of new developed structure, are key technology. The construction of the digital engineering environment to digitalize directly the visual information of new image, as virtual reality, becomes needed