Professional Graphic Designers Research Articles

Databases of digital fonts as sources for providing alternatives for font selection

Given the sheer number of typefaces available in the market and the predominance of intuitive criteria during the process, font selection (even after a general decision regarding the features of the fonts sought after has been made) is a difficult task for both, students and professional graphic designers. A more rational, systematic approach is proposed, based on objective formal attributes and design parameters derived from Gerrit Noordzij’s ideas and Erik van Blokland’s TypeCooker methodology. This paper intends to show that digital font data bases and simple algorithms can be used to refine a font search, a convenient approach to most graphic designers, type designers, font foundries, and design educators.

Features of stylistic manifestations of contemporary graphic design of the United Kingdom

The article highlights and analizes stylistic manifestations of contemporary graphic design of the United Kingdom and its specificities. The measures of contemporary graphic design and dominant trends that exist in modern british graphic design are identified. This article posits that at the beginning of the XXI century graphic design of the United Kingdom is developed under conditions of constant tech­nological improvement, change of professional graphic design boundaries associated with the emergence of virtual objects, and displacement of print objects by the electonical analogues. The most significant feature of modern british graphic design is higlighted — the emergence of design decisions on the edge of differ­ent fields of design, which assumes active interaction of visual and notional design elements with the space as a physical carrier and confirms diffusive character of development of all fields of design, their striving to­ wards integration.

Design creativity, technical execution and aesthetic appeal: a CAT with caveats (Part 2)

This study explores to what extent technical execution and aesthetic appeal may be related to assessments of graphic design creativity. These new research findings build upon Jeffries’ 2017 publication in the International Journal of Design Creativity and Innovation, and further underpin the caveats identified in relation to the Consensual Assessment Technique (CAT). Eight professional graphic designers rated thirty-two artworks for a creative typographical task. Individual artworks were created by novices who had no experience of graphic design, through to professional graphic designers with 35 years of full-time experience. Written instructions to judges emphasised artwork be rated on creativity-only (without considering technical execution or aesthetic appeal), and this ‘creativity-only’ feature was verbally re-emphasised to judges by the researcher. Inter-rater agreement for creativity was a Cronbach’s alpha of .92; considerably higher than in previous studies, with implications that may relate to the use of the CAT as a measure of design creativity more broadly, and beyond graphic design.

ARTISTIC VISUALIZATION OF TRAJECTORY DATA USING CLOUD MODEL

Abstract. Rapid advance of location acquisition technologies boosts the generation of trajectory data, which track the traces of moving objects. A trajectory is typically represented by a sequence of timestamped geographical locations. Data visualization is an efficient means to represent distributions and structures of datasets and reveal hidden patterns in the data. In this paper, we explore a cloud model-based method for the generation of stylized renderings of trajectory data. The artistic visualizations of the proposed method do not have the goal to allow for data mining tasks or others but instead show the aesthetic effect of the traces of moving objects in a distorted manner. The techniques used to create the images of traces of moving objects include the uncertain line using extended cloud model, stroke-based rendering of geolocation in varying styles, and stylistic shading with aesthetic effects for print or electronic displays, as well as various parameters to be further personalized. The influence of different parameters on the aesthetic qualities of various painted images is investigated, including step size, types of strokes, colour modes, and quantitative comparisons using four aesthetic measures are also involved into the experiment. The experimental results suggest that the proposed method is with advantages of uncertainty, simplicity and effectiveness, and it would inspire professional graphic designers and amateur users who may be interested in playful and creative exploration of artistic visualization of trajectory data.

Professional graphic design knowledge in Hong Kong: from graduate to professional

AbstractThis article investigates the scope of graphic design professional knowledge in practice, and questions whether the knowledge and training provided at university are sufficient for graduates to become design professionals in Hong Kong. Official reports indicate that Hong Kong designers’ competence is limited to skills of execution, contributing in general to a low standard of professionalism due to a lack of professional knowledge. Three kinds of respondents were involved in the study: graduate graphic designers, design firm employers, and design academics. The study relied on a mixed method approach, with the qualitative interview method as the core qualitative component and a survey as the supplementary quantitative component. Findings reveal the similarity of views held by the academics, employers and graduate designers interviewed: ‘A professional designer is knowledgeable and performs well in both internal and external environment.’ However, the graduate designers believe that aesthetic appea...

Developing Pictographs for Increasing Adherence in Patients with Diabetes Mellitus

Introduction: The compliance of low literate and illiterate patients might be improved and disease complications prevented by using pictographs. This study was carried out using qualitative methods to design pictographs for increasing adherence in low literate and illiterate patients with diabetes mellitus. Material and methods: An action research was carried out after facing compliance problems in illiterate diabetic patients. A professional graphic designer designed pictographs under the supervision of health education, endocrinology and nutrition specialists, in two cycles and after conducting interviews with 23 low literate and illiterate patients. The data was analyzed by qualitative methods. Results: After a long and durable process and 23 interviews [with 16 illiterate and 7 low literacy persons[ and 2 cycles, 10 pictographs for correct medicine consumption, 8 for foot care, 4 for diet, 113 for food substitutes and 1 for physical exercises were created, which were acceptable and understandable for most patients. Conclusion: Pictographs might be helpful for increasing adherence in illiterate or low literate patients who have problems with written instructions. In the present study we designed some pictographs to help these patients. It is necessary to carry out studies to prove the efficacy of these pictographs in improving patient adherence through quantitative methods.

Advertising patient and public involvement in trials as a way of improving participant recruitment: development of an intervention and its evaluation

Methods The principles underlying the intervention were informed by a systematic review and a workshop that included mental health service users, trialists and ethicists. We recruited mental health trials with high quality PPI, and worked with PPI members in each trial to develop the intervention using a leaflet to advertise the nature and function of the PPI. Professional graphic design optimised readability and impact. Potential participants in each host trial will be randomised to receive the leaflet or not, alongside the standard study information. The effectiveness of the leaflet will be evaluated within and across trials.

A CAT with caveats: is the Consensual Assessment Technique a reliable measure of graphic design creativity?

The Consensual Assessment Technique (CAT) is considered one of the gold standards for creativity assessment, and graphic design, arguably, is the most ubiquitous domain within the creative industries. For the first time, this study tests two tasks to measure graphic design creativity, and by extension, the reliability of the CAT as a measure of graphic design creativity. Initial research suggested the level of consensus amongst judges (often referred to as inter-rater reliability) was too low to be reliable, and may be unduly influenced by a judge’s preference for technical execution. In this study, 16 professional graphic designers were randomly assigned instructions to discount technical execution from creativity ratings, or given instruction that gave no stipulation, for 60 artworks. Inter-rater reliability scores were acceptable for each task and experimental condition, but were higher for judges that received instructions to discount technical execution. These and other results are discussed, and the argument presented that, for future CAT studies in this domain, specific instructions to discount technical execution offers a more reliable measure of graphic design creativity.

Applying TRIZ to Graphic Design using Genetic Algorithms

A CAI (Computer Aided Innovation) tool called AEGIS (Accelerated Evolutionary Graphic Interface System) is being developed and applied to graphic design. The tool, which uses TRIZ ‘guided’ algorithms, is being tested with graphic design experts. The AEGIS processes initial inputs (initial design ideas) and apply TRIZ based algorithms to them and outputs ‘innovative designs’. These designs may further be processed using manual techniques to achieve the final outputs desired by designers.This paper discusses version 6.6 of AEGIS. In this version, Genetic Algorithms (GA's) are being utilised. Genetic algorithms are one of the best ways to solve a problem for which little is known. They are a very general algorithm and so will work well in any search space. All you need to know is what you need the solution to be able to do well, and a genetic algorithm will often be able to create a high quality solution. Genetic algorithms use the principles of selection and evolution to produce several solutions to a given problem. This paper considers the various entities and structures used and developed to implement Genetic Algorithms through which TRIZ guided effects and mutations are applied here to graphic design elements. It attempts to code TRIZ Principles based mutations (function/method parameters) into genes. This paper discusses the detailed implementation of Genetic Algorithms and hence the translation and implementation of TRIZ Principles to Genetic Algorithm structure to obtain generations of phenotypes (Images).A complete input or output image in Graphic Design is generally considered to consist of four main components: the background, the logo (branding), the text on the packaging and the extra effect (extra logo or design). TRIZ ‘algorithms’ are applied to these components individually and then these components are recombined. This is achieved by implementing these components as layers. GA's are inspired by nature and evolution. Each organism is considered to be made of cells which in turn consist of chromosomes; chromosomes are made of genes (which are functional blocks of DNA). Each gene controls a particular property of an aspect or behaviour or part of the organism. The different possibilities which a property can have are called ‘Alleles’. Genes have a particular place in a chromosome (this is called ‘locus’).This paper discusses the detailed implementation of Genetic Algorithms and hence the translation and implementation of TRIZ Principles to Genetic Algorithm structure to obtain generations of phenotypes (Images). The first GA enabled version of AEGIS discussed here has three chromosomes[1]. Outputs are shown applied to fonts for the chromosomes implemented. A brief comparison of the time taken to produce designs using AEGIS compared to professional packages points to AEGIS producing large time savings.The outputs from the software i.e., designs, are promising, and have to some extent motivated professional graphic designers to accept that this tool has benefits in aiding them to produce more innovative designs or at least speed up this process. Some ‘design’ examples using GA's are shown in this paper. In the future a further 14 chromosomes are being implemented in AEGIS.

A study of the role of visual information in supporting ideation in graphic design

Existing computer technologies poorly support the ideation phase common to graphic design practice. Finding and indexing visual material to assist the process of ideation often fall on the designer, leading to user experiences that are less than ideal. To inform development of computer systems to assist graphic designers in the ideation phase of the design process, we conducted interviews with 15 professional graphic designers about their design process and visual information needs. Based on the study, we propose a set of requirements for an ideation‐support system for graphic design.

DIY design: How crowdsourcing sites are challenging traditional graphic design practice

This paper analyzes the current debate over crowdsourced/do–it–yourself (DIY) design. Specifically, it highlights underlying tensions between discourse within the professional graphic design field and an increasingly sophisticated and global community of DIY designers who are challenging their professional norms and practices. Through an exploration of these sites’ approach to intellectual property, design education, compensation, and community, this research explain how crowdsourcing companies discursively frame (and challenge) traditional design practices. Specific recommendations as to how crowdsourcing sites and the professional design community might coexist peacefully are offered.

The Evocative Power of Projective Techniques for the Elicitation of Meaning

A unique project was undertaken by doctoral and postdoctoral students, and their mentor, from diverse backgrounds in health and social sciences to explore their past experiences as participants in a qualitative research training initiative called EQUIPP (Enhancing Qualitative Understanding of Illness Processes and Prevention). The purpose of the project was to create a symbolic representation of the EQUIPP program through the use of projective techniques. The authors examined the meaning of engaging in qualitative research training through images and conceptual metaphors that were subsequently consolidated thematically and then portrayed in the form of a newly constructed logo that was developed with the assistance of a professional graphic designer. Projective techniques proved to be a powerful, evocative tool for eliciting meaning and translating concrete experiences into visual discourse. In this paper, the authors discuss how projective techniques were operationalized and consider their broad implications for qualitative research.

Developing an 'interactive' booklet on respiratory tract infections in children for use in primary care consultations.

To construct a systematic process for developing an 'interactive' booklet for use in primary care consultations and to use this process to develop a booklet on respiratory tract infections in children. Booklet development occurred through a number of stages, which included: expert group brainstorming and literature review, professional graphic design, readability assessment, and consultation with users. Consultation was achieved through the use of focus groups and interviews with parents, focus groups and independent booklet review by general practitioners, and booklet review and feedback by paediatricians. All development stages led to meaningful enhancements to the booklet. Consultation with parents demonstrated a desire for more information than anticipated, with a particular emphasis on the interpretation of signs and symptoms, and the recognition of serious illness. General practitioners contributed to the design and clarity of the booklet and helped to ensure that it would be acceptable for use within consultations. Written material needs to be developed in a systematic way and include consultation with the intended users. Focus groups are a valuable tool for consulting with consumers and practitioners in this regard. The process described can be used as a guide for those wishing to develop similar written materials.

Drawing Subway Maps: A Survey

This paper deals with automating the drawing of subway maps. There are two features of schematic subway maps that make them different from drawings of other networks such as flow charts or organigrams. First, most schematic subway maps use not only horizontal and vertical lines, but also diagonals. This gives more flexibility in the layout process, but it also makes the problem provably hard. Second, a subway map represents a network whose components have geographic locations that are roughly known to the users of such a map. This knowledge must be respected during the search for a clear layout of the network. For the sake of visual clarity the underlying geography may be distorted, but it must not be given up, otherwise map users will be hopelessly confused. In this paper we first give a rather generally accepted list of rules that should be adhered to by a good subway map. Next we survey three recent methods for drawing subway maps, analyze their performance with respect to the above rules, and compare the resulting maps among each other and to official subway maps drawn by graphic designers. We then focus on one of the methods, which is based on mixed-integer linear programming, a widely-used global optimization technique. This method guarantees to find a drawing that fulfills a subset of the above-mentioned rules (if such a drawing exists) and optimizes a weighted sum of costs that correspond to the remaining rules. The method can draw even large subway networks such as the London Underground in an aesthetically pleasing manner, similar to maps made by professional graphic designers. If station labels are included in the optimization process, so far only medium-size networks can be drawn. Finally we give evidence why drawing good subway maps is difficult (even without labels).

Metaphor and pedagogy in the design practicum

This paper discusses the ways in which the long-established tradition of the design ‘practicum’ continues to structure teaching and learning in undergraduate programmes. It draws on an in-depth empirical study of one degree course in graphic design and accompanying research in a small number of professional graphic design studios; this dual focus enables identification of shared practices and discourses across the two contexts. Examination of its distinctive modes of teaching and learning indicates the effectiveness of practicum pedagogy in promoting design understanding and the professional preparation of students. The study’s insights into the design classroom are illuminated by situated theories of learning, particularly the idea that knowing equates to participation in the specialist knowledge community of graphic design. A key feature of the learning situation is identified as the practicum discourse shared by tutors and learners, which is characterized as metaphor-based rather than analytical and abstract. The strengths and limitations of this practice-oriented discourse are discussed in the light of the recognized difficulties in articulating art and design knowledge, and its consequent problematic status in the academy. The paper’s focus on metaphorical discourse offers a different view of design pedagogy, and suggests a means of researching it that may also be relevant to other practice-oriented domains.

Circles of practice: educational and professional graphic design

PurposeThis paper investigates the specialist learning undertaken in graphic design classrooms and its relationship to industry practices. It considers how well students are prepared for work and the nature of this vocational preparation.Design/methodology/approachThe paper is based on an empirical study using a qualitative, case study approach. A situated perspective on design learning and knowledge was adopted, and a strong focus on studio discourse developed. An analytical method based on respondents' use of metaphor in practice‐oriented discourse evolved, providing an interpretive framework for the study.FindingsThe paper describes the difficulties involved in undertaking research into design classrooms, outlining how these were resolved to allow the unique learning activities of the design practicum to be identified. It discusses the lack of recognition of design pedagogies, and considers their characteristic strengths and weaknesses. Key metaphorical discourses structuring design learning, teaching and practice are identified. Shared discourses in use across graphic design education and industry suggest the alignment of these contexts, providing a perspective on them as overlapping “circles of practice”. Conclusions are drawn about the effectiveness of graphic design vocational education.Originality/valueThe study suggests a means of researching practice‐oriented discourses and activities across a range of settings. It offers ways of considering the alignment of educational and professional contexts by using a modified “situated” perspective on learning. This perspective allows for recognition of types of learning that do not meet traditional, “academic” criteria and of the vocationally‐referenced pedagogies that promote them.

THE FIRST THINGS FIRST MANIFESTO AND THE POLITICS OF CULTURE JAMMING: TOWARDS A CULTURAL ECONOMY OF GRAPHIC DESIGN AND ADVERTISING

Advertising has long been recognized as an important cultural force by media and cultural studies scholars. Graphic design, despite its comparable ubiquity, has rarely been the subject of this kind of critique. Where these activities have been discussed, the emphasis has been overwhelmingly on their textual manifestations (graphics, ads, commercials) and, occasionally, on their reception. In the interest of working towards a fuller account of the overall circulation and reproduction of an increasingly commercial contemporary culture, then, this paper turns to the generative source of these ephemeral artefacts and, in particular, professional graphic design practice. By paying especial attention to the framing of current debates about accountability and social responsibility within this profession, this paper seeks to explore the constraining and enabling effects of commercial practice. Advertising and design are readily distinguishable from other economic institutions because of their declared expertise in creating specifically cultural forms of communication. Further, these practices rely on the skills of cultural intermediaries: individuals whose job it is to develop these forms to mediate between, or more properly, articulate, the realms of production and consumption. Graphic designers, it seems, enjoy much greater latitude for personal expression than ad creatives – or at least enjoy a professional culture, or habitus, that supports debate and dissent through a variety of activities, and recognizes non-commercial design projects as legitimate forms of expression. While the designers interviewed here may claim that advertising is a creative practice entirely subsumed by commercial constraints, they also recognize that their own professional activities involve only a limited degree of subjective control. Personal and non-commercial projects, often indirectly funded by income from business clients, appear to provide a more reliable means to creative fulfillment.

Uncovering the creative dimensions of computer‐graphic design products

Abstract: Does a graphic designer's use of computer graphic technology (CGT) instead of more traditional methods improve the creativeness exhibited by the finished product? In this study, the combination of human interaction with CGT is proposed to enhance creativity in the product. Products were obtained from two undergraduate graphic design courses, one specializing in computer graphic technology, and the other in conventional graphic design methods. Four student assignments in each course produced four successive product sets for evaluation and analysis. Differences were tested with MANOVAs. Data were obtained from professional graphic designers using the Creative Product Semantic Scale (Besemer & O'Quin, 1986, 1987; O'Quin & Besemer, 1989). The results supported the proposition, particularly in the fourth product set with CGT products judged significantly more organic and wellcrafted than traditional products. The results provide insights into the development of future creative human/computer systems.

‘Europe in the Round’: Principles and Practice of Screen Design

SUMMARY ‘Europe in the Round’ was a project designed to test the hypothesis that a combination of hypertext with mass storage would make a powerful learning tool. Its outcome has been a saleable product for anyone interested in education, training and work in the European Community with access to Macintosh or IBM‐compatible computers. Screen design, scripting and navigation reflected the need to give easy access to 10,000 richly interconnected screens presenting data at many levels. Making the system ‘translator‐friendly’ was also a design constraint. Considering users’ needs and hardware, we found that text and graphics gave a cost‐effective media mix. The Collections feature allows users to create slide shows simply by mouse‐click, drawing on the system as a resource. The project team needed strong editorial input and a professional graphic designer to ensure consistency and coherent screen design. We benefited greatly from several cycles of field‐testing, starting early in the system's development.