Graphic Styles Research Articles

Background check: cross-cultural differences in the spatial context of comic scenes.

Cognitive research points towards cultural differences in the way people perceive and express scenes. Whereas people from Western cultures focus more on focal objects, those from East Asia have been shown to focus on the surrounding context. This paper examines whether these cultural differences are expressed in complex multimodal media such as comics. We compared annotated panels across comics from six countries to examine how backgrounds convey contextual information of scenes in explicit or implicit ways. Compared to Western comics from the United States and Spain, East Asian comics from Japan and China expressed the context of scenes more implicitly. In addition, Nigerian comics moderately emulated American comics in background use, while Russian comics emulated Japanese manga, consistent with their visual styles. The six countries grouped together based on whether they employed more explicit strategies such as detailed, depicted backgrounds, or implicit strategies such as leaving the background empty. These cultural differences in background use can be attributed to both cognitive patterns of attention and comics' graphic styles. Altogether, this study provides support for cultural differences in attention manifesting in visual narratives, and elucidates how spatial relationships are depicted in visual narratives across cultures.

Portrait of the comics artist as a failure. Conflicted authorship, metacomic and exercises in style in Kiko da Silva’s El infierno del dibujante

ABSTRACT This article examines the authorial projections of the comics artist in Kiko da Silva’s El infierno del dibujante (2015) and argues that da Silva creates a work with conflicted authorship in which he actively engages with metafiction, not only including numerous paratexts in the form of fictional facsimile (images, documents, etc.) that highlight the materiality of comics but also expanding the work through online and public happenings. Da Silva’s graphic novel appropriates various graphic styles and genres to pay tribute to and/or parody real cartoonists that influence the protagonist, a failed author whose life paradoxically becomes the comic he always wanted to write. In portraying a character who is supposedly plagiarised, El infierno del dibujante also provides a reflection on the notion of originality and copy in art, drawing attention to the comics industry and the production, reception and social recognition of comics.

Translation as Counter-Memory: Mainmise and the Making of a Counter-Culture in Quebec

Published in Montreal between 1970 and 1978, Mainmise was the most important periodical associated with the emerging youth counter-culture movement in Quebec. Its editors drew inspiration from themes that formed the cornerstones of the American counter-culture movement – sex, drugs and rock n’ roll – and trips to American hippy meccas like Haight-Ashbury in San Francisco or Greenwich Village in New York. The magazine’s aesthetic was marked by an eclectic mix of typesetting, handwriting, drawings and photographs. It was also a product of translation. With access to images and texts drawn from over 200 publications (as a member of the Underground Press Syndicate), Mainmise’s editors and contributors translated some of the American movement’s key writings and music, adapted the psychedelic graphic styles of its comics and periodicals, and provided a hub for an alternative social network. This paper examines the evolution of Mainmise over three periods of its publication history. Integrating perspectives from translation studies and memory studies, it develops the idea of counter-memory as a translational phenomenon based on re-identification (the construction of alternative collective references through cultural borrowing and transfer) and re-temporalization (the re-inscription of references in a remembered past or utopic future). I will first discuss the emergence of alternative collective references in post-Quiet-Revolution Quebec to then concentrate on Mainmise as a locus of transnational, counter-cultural memory and translation.

Видеоигровые изобразительные стили

The article examines the graphic styles that have arisen in the video game industry due to the technical features and development of this media. These styles are widely used and starting to go beyond the industry into the field of contemporary art. Despite the fact that pixel art is mainly used in the creation of video games, it has already become an independent form of visual style. Contemporary artists such as the Russian digital artist and designer under the pseudonym Uno Morales and the artist Natalya Struchkova turn to the pixel style when creating their works. Like the pixel art, voxel graphics has moved into the category of the game visual style, which employs an impressive community of digital artists. Low рoly graphics have modified from the main graphics of three-dimensional games, which look technically imperfect, into the category of an artistic style that forms a recognizable, attractive and unique geometric aesthetics of the image. We can trace the transformation of video game graphics, which have arisen as a result of technical constraints, into separate art styles: pixel art, voxel art, low рoly style, the minimalist style of the first classic video games. These styles are gradually becoming an independent visual unit that does not depend on the video game product as a whole.

An exploratory study using graphic design to communicate consumer benefits on food packaging

Commercial food packages may contain multiple messages. Packaging designers try to integrate all messages into a coherent design. Designers may use text, images or stylistic features, but these mediums may differ in their suitability to communicate specific product benefits. To evaluate the usefulness and effectiveness of these three mediums, we not only obtained consumer evaluations of packaging designs, but we also monitored the designer’s experience during the design process.For three products (orange juice, muesli bar, plain yogurt) we created three consistent packaging designs communicating a single benefit through all three mediums, which was either a [1] health, [2] environmental, or [3] production, sensory or social claim. Subsequently, we developed inconsistent packages communicating three different messages through the three mediums. In an online survey, each of the 18 package variants was evaluated by 59–92 participants.Dummy regression analysis suggested that verbal claims had positive effects in communicating healthiness and environmental friendliness but elicited a negative tendency for sensory properties. The images we used indicated a positive effect for communicating worker conditions, but a negative effect for healthiness. Our stylistic elements suggested a positive effect for sensory appeal, but tended to have negative effects for environmental aspects. As regards designer dilemmas, we noticed that some images (e.g., in the medical domain) required specific graphic styles to make them acceptable for commercial use. Our findings suggest that consumers can handle multiple packaging messages, but finding an optimal configuration remains a design challenge.

Ancient Kyrgyz writing(from ancient times to the 10th century A.D.)

The article deals with the ancient Kyrgyz writings as pictography, logography, identification marks (en tamga) and phonography. The object of the research is the Yenisei written monuments: Minusinsk and Tuvanian. The Minusinsk written monuments are characterized by the so-called «animal style», the predominant style of art of the Scythian era, especially characterized by the depiction of animals.Petroglyphs of the Scythian-Siberian animal style were found in an ancient grave on the high mountain Bai-Dag of Tuva. The article analyzes the graphic styles of the Karasuk and Tagar cultures, in which wild animals were totem symbols, and focuses on written monuments found in Kopen, Kapchaly and Uybat, which have preserved in the style of Scythian-Siberian traditions. The “animal style” is also characteristic of the monuments of the Kazylgan culture. So, on the Syyn-Churek rock, petroglyphs of about 300 animals, drawings of people and solar signs are captured.The author also analyzes a new type of communication in the form of symbol, tamga signs, which arose because of the development of cattle breeding and were used by the Min-sui nomadic herders at the beginning of the 1st millennium BC. Generic and family of tamga signs were passed down from generation to generation, one of the reasons for the appearance was the marking of animals. Over time, their function has expanded. Later, in the 4th-10th centuries, tamga signs spread widely over the vast territories of Steppe Eurasia.The article traces the continuity of logographic writing in the culture of the Turkic peoples. The article considers the Khakass ornament in the Chaatas culture and in the Tyukhtyat culture, as well as Tuvan ornaments and their Kyrgyz origin. The author also explores ornaments at the burial grounds of Sagly-Bazhy II, Kazylgan, Kokel; reveals the semantics of geometric, plant, zoomorphic patterns. The narrative character of the patterns, historicity, realism and musicality of Kyrgyz ornaments are noted.An important point in the article is the definition of the phonographic character of the Orkhon-Yenisei writing used by the ancient Turks in the 6th-10th centuries. The author believes that the Orkhon-Yenisei writing is based on the Yenisei writing of the ancient Kyrgyz. The Yenisei writing is graphically and in content very close to the Talas runic graphemes

Análisis de contenido de la prensa diaria española sobre el uso de la infografía para informar de la crisis sanitaria de la COVID-19.

Este trabajo analiza las infografías publicadas en prensa durante los primeros meses de la pandemia para informar de la crisis sanitaria mundial que en 2020 provoca la covid-19 con el objetivo de conocer el uso que se hace de este género periodístico así como las técnicas y elementos que tienen mayor presencia y que caracterizan la información relativa al coronavirus. Partimos de la hipótesis de que el género periodístico más adecuado para transmitir esta información compleja a una sociedad heterogénea es la infografía. Se ha realizado una investigación mediante la técnica de análisis de contenido para conocer el uso que la prensa española, concretamente El País, El Mundo, La Vanguardia y ABC, hace de los elementos infográficos en esta pandemia. Durante este periodo se evidencia el significativo incremento del número de infográficos en prensa utilizados para informar de la covid-19 y que los datos utilizados en un momento de alarma social requieren las fuentes de información gubernamentales. Con respecto a las técnicas más recurrentes son gráficas simples, ubicativas y códigos de color que garantizan una rápida comprensión para el conjunto de la población. Se consolida el diseño de la información de la pandemia en todas las cabeceras para fomentar la coherencia y continuidad en los estilos gráficos así como una eficaz gestión de los datos, que además permite el conocimiento previo del diseño y la técnica a los lectores.

ЭРГОНИМЫ НА ВЫВЕСКАХ ПРОВИНЦИАЛЬНОГО ГОРОДА: ЛИНГВОКУЛЬТУРОЛОГИЧЕСКИЙ АСПЕКТ

The nominative space of a provincial town is the subject of the author's attention in the proposed article. An important aspect in consideration of functioning of signs, posters, and other objects in town space is a linguoculturological aspect meaning the analysis of interrelation of the language environment of the town and its inclusiveness into a sociocultural situation. The article analyzes various terminological designations of the names of urban objects in linguistics: urbanonyms, ergonyms, emporonyms, firmonyms and others. The author, referring to the opinions of well-known onomatologists, focuses the attention on the term ergonym, justifying the need to use it to denote the names of shops and institutions. The rethinking of names, according to onomatologists, actualizes the processes of the sociocultural life of the town associated with linguistic problems including games with graphemes. The work examines the current language process reflected in the language of the provincial town – the use of Cyrillic letters in the names of shops and institutions. The study of the naming trends of the provincial town allowed the author to talk about the cultural value of the names. The updating of Cyrillic letters on signs has become a means for forming the value and meaning space of a provincial town, on the one hand, and the process of creating errors on the other. The article describes linguistic contradictions: combinations of modern borrowings with pre-revolutionary graphics, mixing of graphic styles, processes of Eurolatinisation and retrorization, inconsistent use of graphemes. The author of the article concludes that as a result of rethinking the usual nominations in the spirit of pre-revolutionary design of urban space, a special linguistic and cultural phenomenon of a provincial town is formed, striving during globalization for authenticity and identity, which is perceived differently by citizens.

VISUAL PREFERENCES FOR EDUCATIONAL GAME DESIGNS THROUGH THE GRAPHIC STYLE APPROACHES

The role of visual design in educational games is not only for beauty, but also for critical motivation to engage students in nurturing emotional values and thus enhancing their positive experiences. In terms of visual design, graphic style is key to re-evaluating the power and suitability of visual design in variety and rapidly changing game. This paper discusses the importance of graphic styles and their impact on educational games in the context of improving students' learning through play. The influence of design based graphic styles, the graphic characterization and the relationship of graphic trend in design innovation should be emphasized to determine how design can influence the game visualization.

VISUAL PREFERENCES FOR EDUCATIONAL GAME DESIGNS THROUGH THE GRAPHIC STYLE APPROACHES

The role of visual design in educational games is not only for beauty, but also for critical motivation to engage students in nurturing emotional values and thus enhancing their positive experiences. In terms of visual design, graphic style is key to re-evaluating the power and suitability of visual design in variety and rapidly changing game. This paper discusses the importance of graphic styles and their impact on educational games in the context of improving students' learning through play. The influence of design based graphic styles, the graphic characterization and the relationship of graphic trend in design innovation should be emphasized to determine how design can influence the game visualization.

Kawaii Aesthetics from Japan to Europe: Theory of the Japanese “Cute” and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods

Kawaii culture and aesthetics are a peculiarity of contemporary Japan and move across mass media, impulse goods, creative industries, and juvenile tendencies. The concept, graphic styles, and commodities related to a kawaii culture are composite. This article, in its first part, outlines the theories and general features of this cultural trend in Japan and as it is framed in most western countries. In the second part, it also focuses on whether and how the concept and the related styles and commodities have found a place in Europe, with particular reference to Italy and France. These two countries, in fact, have been since the late 1970s the key markets in the Euro-American region for Japanese contemporary culture for youths, namely Japanese comics (generally called manga) and commercial animation (or anime). Anime and manga are, in effect, an integral part of the theoretical discourse on kawaii in the two markets considered, as it is discussed accordingly in the second part of the article. In its last section, the article addresses the impact of kawaii styles on youth cultures in Europe, which is, although limited, multidimensional: it has involved spontaneous drawings among children, a certain amateur and professional comics production, amateur and commercial animation, toys and a diverse merchandising, street art, and fashion design.

Understanding Educational Games Culture in Extending the Relationship between Graphic Appearance and Experiences among Malaysian Lower Secondary

Educational games provide a virtual environment for the students, particularly in an endeavour to increase student immersion, and this need of students satisfied with the visual aspect conditions of the game screen to go to the following stage. In determining the effect of visual design on students' learning experiences - it’s required a further analysis within the students' motivation, engagement and enjoyment. To achieve this goal, a solid fundamental understanding in theoretical philosophy, which closely related to describe the relationship of visual experience, especially in intrinsic tendencies theory and visual principles that on holds the context of motivation, engagement and enjoyment among students. In this regard, a thorough discussion of relevant theories were led to the suggestion theoretical framework and proposed of Experience Based Design Graphic Style (EBDGS) to identify student’s experiences (motivation, engagement and enjoyment) outcomes which mostly depends on the visual design approaches to designing the game scenarios. This paper also aims to describe the theoretical framework proposed in understanding the Malaysian student experience’s outcomes by placing the abstract style and realistic style in developing Experience Based Design Graphic Style (EBDGS) game prototype: EBGDS A (Abstract) and EBGDS R (Realistic). The implication of the theoretical framework was focused on the visual design (graphic styles) of games that intentionally centred in the students’ experience that tied to the demographic factors (gender, type of schools and areas), and the resulting experiences are examined through the Student Experience in Graphic Measurement Scale (SEIGMS). The intention of this research not only emphasize the suitability visual appearance able better improve student experiences but also increases deeper local knowledge in visual design guidelines in educational game design contexts.

К вопросу об эволюции графики письма сибирских документов XVIII-XX вв.

К вопросу об эволюции графики письма сибирских документов XVIII-XX вв.

Applying FaceReader to Recognize Consumer Emotions in Graphic Styles

Products reinforcing positive consumer emotions can promote purchasing desire. The following emotional effects also can influence consumers’ recognition and feelings. In design field, understanding consumer emotions and the reasons behind can help designers establish emotional communication between consumer and product, and create consumer demands. This study elaborated various relations between emotion and graphic style. We conducted an emotion recognition experiment to understand participants’ emotional reactions toward graphics with four levels of stylization. FaceReader, an automatic facial expression recognition software, was used to recognize 120 participants’ emotions by one-way repeated measures ANOVA. Meanwhile, emotional adjectives and self-reports from participants were compared with those aroused emotions from viewing stylized graphics. The results indicated (1) participants showed significant emotional differences in happiness, anger, surprise and disgust toward different levels of stylized graphics. (2) Graphics with a simple element and sharp edge could attract participants’ attention. (3) Realistic graphics could inspire more associate ideas from participants. (4) Participants had higher positive evaluations on colorful graphics, and graphics with single color can attract their attention. Furthermore, we generalized limitations and precautions in applying FaceReader: (1) interpreting participants’ emotions toward static images might result in lower statistical values of negative emotions. (2) When participants concentrated on the images, their facial expressions could be interpreted as angry emotion. (3) The neutral facial expression could be interpreted as sad emotion. (4) Participants’ self-reports were supplementary to explain the plausibility of generated emotions from FaceReader. This research has demonstrated practical implications of graphic style. FaceReader could be an effective tool to evaluate consumer emotion in the field of design research. Furthermore, the importance and practicality of using facial expression recognition to evaluate participants’ emotions in response to different graphic styles have been confirmed. This approach provides a preferable basis in relevant fields of design practice and marketing.

Scientists in cartoons: humanizing science

Published daily from 1994 to 2002 in Correio Popular, a Campinas-based newspaper, Os cientistas (The scientists) comic strips produced by Brazilian researchers and journalists presented science critically and irreverently, exposing the insecurities and frustrations of scientists, as well as the conflicts between them and their communication difficulties with other groups, like journalists. This article shows the diversity of personalities, subjects, graphic styles, and potential meanings in a sample of comic strips published in the first four years.

Modern Design in Taiwan: The Japanese Period, 1895–1945

Introduction The goal of this study is to determine how Taiwanese design culture during the Japanese colonial period became integrated with Western styles and what the major influences in this process were. It takes as its subject the graphic design works of the Japanese colonial period and explores how design forms that were popular in the west from 1920 to 1930 were introduced by the Japanese to Taiwan. This study also investigates how these styles were imitated and transplanted to the island. Also of concern is the influence of these styles on the development and popularization of modern design in Taiwan. One of the primary goals of this paper is to understand the formation and development of modern Japanese design, as well as the process of its adoption. In addition, the process by which Japan learned Western design through the organization and analysis of textual materials is a central question which this research wishes to address. It also analyzes the background of modern Taiwanese design’s development during the Japanese colonial period. Secondly, this collects and examines graphic design materials from the colonial period. It then organizes and analyzes the sample research materials obtained according to style and form. This research contrasts the earliest western and Japanese graphic design styles and, finally, makes specific inductions concerning the influences on the particular characteristics of Taiwanese design’s appearance and style in its development. After the Meiji Restoration began in 1867, the Japanese government pursued an understanding of Western civilization so that it might rapidly increase the scope of its modernization. Catching up with the Western imperial countries was one of the primary objectives of this movement, and in which art, culture, and design were, of course, important dimensions of this reform. The Japanese government wanted to learn and, more importantly, to introduce and promote Western artistic trends to the homeland. After the Treaty of Shimonoseki was signed in 1895, the Qing Dynasty ceded Taiwan to the Empire of Japan, beginning a 50-year Japanese colonial rule of the island that lasted until 1945. During the Japanese colonial period, Taiwan’s political environment was

Review: Menu Design in America: A Visual and Culinary History of Graphic Styles and Design, 1850–1985, by Jim Heimann, with Steven Heller and John Mariani

Book Review| August 01 2012 Review: Menu Design in America: A Visual and Culinary History of Graphic Styles and Design, 1850–1985, by Jim Heimann, with Steven Heller and John Mariani Menu Design in America: A Visual and Culinary History of Graphic Styles and Design, 1850–1985, Edited by Jim Heimann, with Steven Heller and John Mariani, Cologne: Taschen, 2011, 392 pp. Illustrations. $59.99. Henry Voigt Henry Voigt Wilmington, DE Search for other works by this author on: This Site PubMed Google Scholar Gastronomica (2012) 12 (3): 112–113. https://doi.org/10.1525/GFC.2012.12.3.112 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Henry Voigt; Review: Menu Design in America: A Visual and Culinary History of Graphic Styles and Design, 1850–1985, by Jim Heimann, with Steven Heller and John Mariani. Gastronomica 1 August 2012; 12 (3): 112–113. doi: https://doi.org/10.1525/GFC.2012.12.3.112 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentGastronomica Search This content is only available via PDF. © 2012 The Regents of the University of California. All Rights Reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Interactive Visualization of Generalized Virtual 3D City Models using Level‐of‐Abstraction Transitions

AbstractVirtual 3D city models play an important role in the communication of complex geospatial information in a growing number of applications, such as urban planning, navigation, tourist information, and disaster management. In general, homogeneous graphic styles are used for visualization. For instance, photorealism is suitable for detailed presentations, and non‐photorealism or abstract stylization is used to facilitate guidance of a viewer's gaze to prioritized information. However, to adapt visualization to different contexts and contents and to support saliency‐guided visualization based on user interaction or dynamically changing thematic information, a combination of different graphic styles is necessary. Design and implementation of such combined graphic styles pose a number of challenges, specifically from the perspective of real‐time 3D visualization. In this paper, the authors present a concept and an implementation of a system that enables different presentation styles, their seamless integration within a single view, and parametrized transitions between them, which are defined according to tasks, camera view, and image resolution. The paper outlines potential usage scenarios and application fields together with a performance evaluation of the implementation.

Explorer: The Mystery Boxes (review)

Reviewed by: Explorer: The Mystery Boxes Karen Coats Kibuishi, Kazu , ed. Explorer: The Mystery Boxes; written and illus. by Jason Caffoe, Emily Carroll, Kazu Kbuishi, et al.Amulet/Abrams, 2012. 128p. Trade ed. ISBN 978-1-4197-0010-1 $19.95 Paper ed. ISBN 978-1-4197-0009-5 $10.95 R Gr. 5-8. Each of the seven graphic short stories (from a total of eight authors) in this collection centers on the mysterious contents of a box. One box contains a sinister wax doll, another attracts the attention of several wizards, two contain mischievous entities, one provides a link to a beloved father who has been killed in battle, one is [End Page 515]an alien spaceship, and one, of course, is full of treasure. Each poses a problem for the characters who find it, and those problems range from the creepy to the zany to the ethically and socially conscious in their eventual solutions. Full-color artwork introduces readers to a range of graphic styles: the spooky story of the wax doll who starts to take over the life of the girl who found her is characterized by dark, monochromatic colors and stark interiors, whereas the more zany plot of an alien in over his head on an assignment is energized by bright, complementary colors, chaotic compositions, and exaggerated body eccentricities. Readers new to graphic narrative will find this collection inspirational for their own creative forays, and it carries rich curricular possibilities for teaching the form as well; meanwhile, veteran comics readers, who may recognize contributor names such as Raina Telgemeier and Kibuishi himself, will appreciate the range of styles and entertaining narratives made possible by the thematic connection of a mysterious box. Copyright © 2012 The Board of Trustees of the University of Illinois

Graphic Styles and the Appearance Palette in Illustrator CS5

Graphic Styles and the Appearance Palette in Illustrator CS5