Relevant bibliographies by topics / Graphic communication design (GCD)

Academic literature on the topic 'Graphic communication design (GCD)'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Graphic communication design (GCD)"

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GABRIELYAN, T. O. "Communication means of "classic" graphic design." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 4-2 (2021): 92–103. http://dx.doi.org/10.37485/1997-4663_2021_4_2_92_103.

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Ouyang, Chao Ying, and Feng Liu. "The Typeface Details Design in Graphic Visual Communication Engineering." Applied Mechanics and Materials 170-173 (May 2012): 3296–99. http://dx.doi.org/10.4028/www.scientific.net/amm.170-173.3296.

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This article describes the concept of the details in typeface design,the details in typeface design’ s effection in transmission power in graphic visual communication engineering. By the analysis of the graphic visual communication engineering examples,it has searched the use of the details in typeface design in graphic visual communication engineering design and the effection of the graphic visual communication engineering information’s transmission,and it also propose how to effectively use typeface design to improve the graphic visual communication engineering aesthetic content and effective communication of messages in graphic visual communication engineering,and reach to the ultimate goal in the last.
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Banchero, Paola. "Graphic design and religion." Journal of Media and Religion 9, no. 3 (July 30, 2010): 176–78. http://dx.doi.org/10.1080/15348423.2010.500978.

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Hiswara, Abrar, and Noeman Achmad. "Pelatihan Desain Grafis bagi Siswa SMK Global Persada Mandiri Bekasi." Journal Of Computer Science Contributions (JUCOSCO) 2, no. 1 (February 2, 2022): 70–78. http://dx.doi.org/10.31599/jucosco.v2i1.936.

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Graphic design is a communication process using visual elements, such as typography, photography, and illustrations that are intended to create a perception of a message being conveyed. This field involves the process of visual communication and communication design and is very much needed by today's society, including students at SMK Global Persada Mandiri Bekasi. The material provided in this graphic design training is an introduction to graphic design, the benefits of graphic design, types of graphic design, and the practice of making graphic designs, in the form of logos, banners, and flyers. This graphic design training in the form of logo creation training provides tremendous benefits for students. Students can design any logo so that their soft skills increase and can be used in everyday life. Keywords— Graphic design, logo, soft skills
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Huang, Jian Wen. "Research on the Computer Graphic Design and Visual Communication Design." Advanced Materials Research 1055 (November 2014): 342–45. http://dx.doi.org/10.4028/www.scientific.net/amr.1055.342.

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With the development of computer processing software and related technology, modern television, advertising, games, software and commercial activities have made extensive use of computer image processing software for graphic design and visual communication design. The works designed by these means have a strong infection, clear characteristics and it is easy to impress viewers. And the works designed by these means have a high degree of art innovation and also have a positive and profound significance on the creators. This paper analyzed and discussed the computer-based graphic design and visual communication design and their related applications.
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Guan, Xuelun, and Kaihong Wang. "Visual Communication Design Using Machine Vision and Digital Media Communication Technology." Wireless Communications and Mobile Computing 2022 (March 30, 2022): 1–11. http://dx.doi.org/10.1155/2022/6235913.

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The dynamic design of graphic language can be seen everywhere in life as the digital media era progresses. Graphic designs, such as product packaging, poster design, book binding design, and logo design, are examples of traditional visual design. The print media is the most important factor. Graphic design that is aided by digital media technology is not limited to print but also includes network media. The teaching research of China’s visual design specialty is still in its early stages, the relevant teaching system reform of various colleges and universities is still being explored, and there is no unified standard in the digital information age. As a result, it is critical to conduct in-depth research using scientific and systematic methods in order to pave the way for the development of a domestic visual design specialty in the information age. Simultaneously, the popularization and development of new media have had a significant impact on traditional printing media, breaking the monotony of traditional visual communication and making modern visual design more vivid and intuitive. Visual perception in psychology is introduced into design thinking in this paper. Apart from its expression in art culture, the concept of space also encompasses the physics concepts of time and space, as well as the scientific research theory of visual perception in psychology, which transcends the perceptual cognition level of space in art design.
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Bowen, Peng, and Li Hua. "Analysis of Computer Graphic Image Design and Visual Communication Design." Journal of Physics: Conference Series 1827, no. 1 (March 1, 2021): 012141. http://dx.doi.org/10.1088/1742-6596/1827/1/012141.

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Eshun, E. F., P. Korwu, and E. Appiah. "Peer assessment in graphic design studio: Communication design students' perspectives." Journal of Science and Technology (Ghana) 37, no. 1 (February 12, 2018): 64–74. http://dx.doi.org/10.4314/just.v37i1.6.

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Large class-sizes have become a common feature in almost all higher education institutions in developing countries. Consequently, educators have to implement innovative pedagogies and assessment practices to deal with the current challenges in education delivery at that level. The purpose of this study was to examine students’ perceptions of their attitudes during peer assessment practice in graphic design studio in higher education. The study was conducted with 94 students at the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana. The results showed that the students had a positive experience and perception of the peer assessment process. They also held positive views of the task worth of peer-assessment just like their perception of peer-assessment as an aid to learning. The results revealed that peer learning and objectivity are significantly related to task worth. The findings of this study have confirmed the advantages associated with the use of peer-assessment in higher education instead of a teacher centered approach and reaffirmed the existing unequivocal views held by similar studies.Keywords: Peer assessment; students’ perceptions; studio pedagogy; graphic design
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BERDNIK, T. O., and P. O. MOROZOVA. "Means and tools of communication in graphic design." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 4-2 (2021): 127–33. http://dx.doi.org/10.37485/1997-4663_2021_4_2_127_133.

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Wang, Yanna. "Graphic Composition Art of Packaging Visual Communication Design Based on VR." Wireless Communications and Mobile Computing 2022 (February 11, 2022): 1–9. http://dx.doi.org/10.1155/2022/4054207.

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Visual communication is a popular art form that aids in the transmission of information and reflects people’s aesthetic preferences. In visual communication, the graphic element is an important combination element that plays a key role. Virtual reality (VR) technology will become more widely used as computer technology advances and network applications become more popular. As a result, research into VR technology generation and application in packaging design will aid in the popularization and application of VR technology, as well as the advancement of product packaging design. The application of graphic composition art in packaging visual communication design is investigated in this paper. This paper introduces the basic concepts and characteristics of virtual reality (VR), as well as the development and application fields of VR technology, based on the current state of virtual panorama development at home and abroad. It also provides advice and recommendations on graphic creativity in VR technology packaging design, as well as the symbol of graphic creativity and the value of graphic composition art in packaging visual communication design.
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Dissertations / Theses on the topic "Graphic communication design (GCD)"

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Ali, Hena. "Graphic communication design practice for sustainable social advocacy in Pakistan : co-developing contextually responsive communication design (GCD) methodologies in culturally diverse contexts." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8747/.

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Communication design, as a significant tool for sustainable social advocacy, is still under-explored both academically and within creative practices worldwide. In a developing country like Pakistan, the role of social advocacy as an effective tool for social change is ambiguous. This practice-led research aims to redress this imbalance by exploring the development of graphic communication design approaches (GCDs) for social advocacy, in response to a low Pakistani literacy context. The investigation presents a contextually responsive GCD model for design development (Fig3a: 13), as a critical design framework, for synthesising graphic languages in Pakistan. This is presented as an alternative non-traditional communication approach, in response to contextual constraints (socio- cultural, literacy levels and/or available resources) in Rawalpindi, Pakistan. The practice asserts contextually driven communication design approaches for sustainability, and it also contests the effectiveness of universal design approaches in culturally diverse contexts. Using a case study approach, a semiotic analysis of three forms of Pakistani graphic media, namely Lollywood billboards, Pakistani truck art and political campaign posters, is undertaken. As a mapping stage, this explores the development of vernacular communication systems and visual codes to advance effective graphic languages in Pakistan, while a simultaneous review of the literature and practice supports the case studies. However, the analysis relies primarily on a pilot study, contextual interviews and collaborative design projects, with Pakistani truck and billboard artists, to identify critical graphic frameworks operative in the Pakistani visual context. This leads ultimately to the final participatory design-led synthesis stage, which co-designs social advocacy interventions in the low- income community of Dhok Chaudrian, Rawalpindi. The interventions address the major issue of open garbage dumps, and the co-design approach highlights the significance of communication design practice evolving as a sustainable social engagement tool in response to a specific issue in a specific context. This thesis is organised in four major sections. Chapter One introduces the research aims, structure and organisation of the thesis. Chapter Two reviews the context and identifies gaps in graphic communication design theory and practice in a social context, before it grounds the research in the Pakistani context. Chapter Three maps the Pakistani visual vernacular through a case study analysis, a pilot study and three collaborative design projects in the cities of Lahore and Rawalpindi. This establishes critical communication design frameworks as a rhetorical design framework (pg. 88) and contextual GCD principles (pg.77) in Pakistan, which are then tested in the proceeding final synthesis stage. Chapter Four entails the design synthesis, which involves testing and evaluating previously developed critical frameworks through co-design sessions in the Dhok Chaudrian community, Rawalpindi. This chapter focuses specifically on community participation as a tool to inform the development of effective graphic languages for design sustainability. Co-design sessions, as an interaction prototype, are evaluated for short-term impacts in terms of engagement, with custom- designed communication tools for a low-literacy target audience. As for resources, this research draws on contextual interviews, collaborative design projects, contextual observations and design evaluations, all of which are supported by published material. The research-led design process is systematically documented as design taxonomy, to be valued as a transferable model of communication design practice. Organisations, artists and designers, with similar research or practical ambitions, can take away the underpinning principles from this research practice and locate them within their own respective practices.
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Corbo-Hudak, Neva. "User considerations in graphic design /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1111.

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Owens, Sarah Teresa. "Design is ordinary : lay graphic communication and its relation to professional graphic design practice." Thesis, University of Reading, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.655747.

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Puhachova, Anna, and L. V. Roienko. "Is graphic design art or science?" Thesis, Наукова платформа Open Science Laboratory, 2020. https://er.knutd.edu.ua/handle/123456789/16302.

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У статті розглядаються основні аспекти та сфери застосування графічного дизайну.
Graphic design is described as the process of visual communication and problem-solving through the use of typography, photography, iconography and illustration.
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Gaydos, Benjamin. "[ethno]graphic design." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/98.

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Visual communication is a part of everyone's daily existence. It is a ubiquitous mode that shapes not only the environment that individuals inhabit, but the very identity of the individual. Graphic designers, who create the vast majority of the visual communication encountered, play a crucial role in the production of cultural identity. It is a necessity that designers understand that role, as agents of cultural production.[ethno]graphic design is an ever-evolving approach to graphic design which utilizes anthropological methods in the creative process. This document presents a collection of projects which take an anthropological approach to the design process, utilizing techniques developed by cultural anthropologists to aid the design process — primarily ethnographic fieldwork, participant observation, collaboration, multivocal representation and reflexivity.
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Jägerholm, Petra, and Lovisa Rönngren. "Anti-aesthetics in graphic design." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130012.

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Syftet med denna studie är att diskutera och problematisera anti-estetisk design och undersöka vilken funktion den har idag. Denna uppsats bygger på en bred bakgrund om fulhet och skönhet, om olika anti-estetiska och kritiska rörelser genom historien och teorier så som kritisk design, normkritik och feminism. Information har insamlats genom en kritisk granskning av tre nummer av tidskriften Bang, analys av offentliga uttalanden om och av Bang och Bastion, samt intervjuer med formgivaren Sepidar Hosseini och tio designstudenter. Metoden kvalitativ ansats användes i studien och induktiv samt deduktiv analys av intervjuerna utfördes. I analysen undersöktes hur avvikande designelement kunde bidra till att kritisera normen med hjälp av etablerade teorier, uttalanden från Bastion och kommentarer från Hosseini och designstudenter. Resultatet av denna studie skall visa på ett alternativt perspektiv på design och diskutera vilken tillämpning den kan ha idag. Anti-estetisk design kan anses ha funktionen att skapa rum för det som inte passar in i det rådande idealet och fungera som grogrund för vidare diskussion om samhällets normer.
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Malinoski, John Banton. "Graphic design archive on videodisc marketing and communication programs /." Online version of thesis, 1986. http://hdl.handle.net/1850/8749.

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Pontis, Sheila Victoria. "Guidelines for conceptual design to assist diagram creators in information design practice." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5684/.

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Today’s society is characterised by the production of massive amounts of information— freely transferred—and instant access to knowledge. This current overproduction of data is translated into complex diagrams to enhance the clarity. Nevertheless, it is commonplace in information design practice to find diagrams that are not communicating the intended messages. The act of conceiving the diagram takes place during conceptual design. This can be where misleading analysis and superfluous information organisation actions may lead to ill-conceived conceptual design, and therefore to ill-conceived diagrams, i.e. overloaded, unintelligible and disorganised. Existing tools for conceptual design of diagram creation do not properly meet design practitioners’ needs in that they tend to be excessively time-consuming to implement. This indicates a need for the exploration of new design methods focused specifically on the conceptual design stage of the process of designing diagrams. This practice-led thesis presents one such possible design method, i.e. MapCI Cards, aimed at guiding experienced graphic and information design practitioners in the preparation of complex diagrams. MapCI Cards presents a collection of guidelines that make use of prompts and questions, in order to assist the conceptual design stage of diagram creation. The use of the proposed design method does not guarantee the production of outstanding outputs. The purpose of MapCI Cards is not to create aesthetic design; rather, it is to increase an understanding through guided content analysis and organisation of the information to be conveyed. Lists, draft diagrams, mind-maps and sketches are some of the possible resulting outputs of using the MapCI Cards. In short, the cards assist the development of the conceptual idea of the potential final diagram that will be developed in the prototype design stage. The first stage of this research investigates how complex diagrams organise information, using the London Underground diagram as a case study. Analytical relational surveys are used to explore diagram creators’ decision-making processes. Sets of studies of diagram structures (Walker, 1979a; Tufte, 1983), design processes (Wurman, 1989; Jones, 1992) and information organisation (Wurman, 2001; Shedroff, 2003; Roam, 2008) are examined and combined. After this, the data collected are analysed using qualitative visual methods, and rearranged to develop the content in MapCI Cards. Two pilot workshops are designed as the revising and optimising methods. Then, five self-documentation cases drawn from practising information designers in the UK are conducted to test MapCI Cards within professional practice. The performance of the proposed guided approach to conceptual design is measured through an interpretation model, and key informants’ insights are used to delimit its conditions and limitations.
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Dhawi, Fahad A. "Redesigning Arabic learning books : an exploration of the role of graphic communication and typography as visual pedagogic tools in Arabic-Latin bilingual design." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13472/.

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What are ‘educational typefaces’ and why are they needed today? Do Arabic beginners need special typefaces that can simplify learning further? If so, what features should they have? Research findings on the complexity of learning Arabic confirm that the majority of language textbooks and pedagogic materials lead to challenging learning environments due to the poor quality of book design, text-heavy content and the restricted amount of visuals used. The complexity of the data and insufficient design quality of the learning materials reviewed in this practice-based research demand serious thought toward simplification, involving experts in the fields of graphic communication, learning and typeface design. The study offers solutions to some of the problems that arise in the course of designing language-learning books by reviewing selected English learning and information design books and methods of guidance for developing uniform learning material for basic Arabic. Key findings from this study confirm the significant role of Arabic designers and educators in the production of efficient and effective learning materials. Their role involves working closely with Arabic instructors, mastering good language skills and being aware of the knowledge available. Also, selecting legible typefaces with distinct design characteristics to help fulfil various objectives of the learning unit. This study raises awareness of the need for typefaces that can attract people to learn Arabic more easily within a globalized world. The absence of such typefaces led to the exploration of simplified twentieth-century Arabic typefaces that share a similar idea of facilitating reading and writing, and resolving script and language complexity issues. This study traces their historical context and studies their functional, technical and aesthetic features to incorporate their thinking and reassign them as learning tools within the right context. The final outcome is the construction of an experimental bilingual Arabic-English language book series for Arab and non-Arab adult beginners. The learning tools used to create the book series were tested through workshops in Kuwait and London to measure their level of simplification and accessibility. They have confirmed both accessibility and incompatibility within different areas of the learning material of the books and helped improve the final outcome of the practice. The tools have established the significant role of educational typefaces, bilingual and graphic communication within visual Arabic learning.
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Dziublik, O. Y. "The role of graphic design in modern world." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/11422.

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Books on the topic "Graphic communication design (GCD)"

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Design & graphic communication. Tonbridge): Hands on Publishing, 1998.

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Caldwell, Raymond. Graphic communication. Tonbridge: Hands On Publishing, 1997.

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Graphic design as communication. New York: Routledge, 2005.

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B, Meggs Philip, and Day Ben, eds. Typographic design: Form and communication. 5th ed. Hoboken, N.J: John Wiley & Sons, 2011.

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DK, Holland, ed. Design issues: How graphic design informs society. New York: Allworth Press, 2001.

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M, Johnson Cindy, ed. Engineering design communication: Conveying design through graphics. 2nd ed. Boston: Prentice Hall, 2011.

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Notes on graphic design and visual communication. Los Altos, Calif: Crisp Publications, 1990.

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Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. New York: Van Nostrand Reinhold, 1985.

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B, Meggs Philip, and Day Ben, eds. Typographic design: Form and communication. 4th ed. Hoboken, N.J: John Wiley & Sons, 2007.

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Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. 2nd ed. New York: Van Nostrand Reinhold, 1993.

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Book chapters on the topic "Graphic communication design (GCD)"

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Butragueño Díaz-Guerra, Belén, Mariasun Salgado de la Rosa, and Javier Francisco Raposo Grau. "Information Design: Communication-Design-Record." In Graphic Imprints, 264–73. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93749-6_22.

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Yarwood, A. "Design in Graphic Communication." In Work Out Graphic Communication GCSE, 171–83. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-10242-6_12.

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Bessler, LeRoy. "Principles of Communication-Effective Graphic Design." In Visual Data Insights Using SAS ODS Graphics, 3–30. Berkeley, CA: Apress, 2023. http://dx.doi.org/10.1007/978-1-4842-8609-8_1.

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Liu, Yanxing, Yusheng Lian, Yang Jin, Xiaojie Hu, and Zhuangzhuang Xiong. "Design and Development of Network Printing Exhibition." In Advances in Graphic Communication, Printing and Packaging, 390–95. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_53.

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Xie, Xinhui, Zhanjun Si, and Shan Zhang. "Design and Making of Sudoku Game Based on Unity3D." In Advances in Graphic Communication, Printing and Packaging, 410–15. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_56.

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Huo, Yuke, Wenjie Yang, Peipei Ran, Chunli Guo, Yanxing Liu, Ge Yang, and Shaozhong Cao. "Design and Implementation of Salary Management System for Printing Enterprises." In Advances in Graphic Communication, Printing and Packaging, 396–402. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_54.

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Ran, Peipei, Wenjie Yang, Yuke Huo, Zhongyue Da, and Shaozhong Cao. "Design of Instant Messaging Software in Printing Enterprise Based on Web." In Advances in Graphic Communication, Printing and Packaging, 403–9. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_55.

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Xu, Yingjie, Lai Peng, X. Han, You Zhao, Chenyang Yuan, Wan Zhang, Xianfu Wei, Beiqing Huang, and Qi Wang. "Surface Structure Design and Performance Test of 3D Printing Microwave Absorbing Material." In Advances in Graphic Communication, Printing and Packaging, 987–95. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_133.

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Zhu, Ming, Bowei Liu, Mengfei Wang, and Yu Lu. "Design and Analysis of Switch Median Filters for Salt and Pepper Noise." In Advances in Graphic Communication, Printing and Packaging, 220–26. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_31.

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Ramos, Igor, and Helena Barbosa. "Designing for Cinema Trindade: Graphic Communication in Contemporary Portuguese Cinemas." In Springer Series in Design and Innovation, 17–33. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49647-0_2.

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Conference papers on the topic "Graphic communication design (GCD)"

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Qu, Muzi, Yaxuan Liu, and Yuan Feng. "Artificial Intelligence Empowered Visual Communication Graphic Design." In 2021 International Conference on Networking Systems of AI (INSAI). IEEE, 2021. http://dx.doi.org/10.1109/insai54028.2021.00021.

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Harland, Robert, Kelly Veronica, Karel van der Waarde, and Eamon Spelman. "Divergence and convergence in graphic design and communication design." In Design Research Society Conference 2018. Design Research Society, 2018. http://dx.doi.org/10.21606/drs.2018.771.

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Ahtik, Jure, and Tanja Nuša Kočevar. "A NOVEL APPROACH TO GRAPHIC COMMUNICATION EDUCATION." In 9th International Symposium on Graphic Engineering and Design. Faculty of Technical Sciences, 2018. http://dx.doi.org/10.24867/grid-2018-p45.

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Xue, Yang. "Analysis of Computer Graphic Image Design and Visual Communication Design." In 2020 5th International Conference on Mechanical, Control and Computer Engineering (ICMCCE). IEEE, 2020. http://dx.doi.org/10.1109/icmcce51767.2020.00528.

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Wang, Lanzhen. "Symbolic Expression and Application in Graphic Design." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.89.

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Chipambwa, Walter, and Evelyn V. Chikwanya. "Design communication: Fashion design students' perspectives on digital vs physical mood boards." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p76.

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A mood board provides a blueprint of the design process in a particular situational design problem. With the developments in the technology the process of making and presenting a mood board has now migrated to the various digital platforms. Traditionally designers in creative world used to make physical mood boards and this has changed as some now prefer the digital mood boards. The effectiveness of mood boards cannot be overemphasised especially in the fashion design world as they provide the visual impression which is a key source of inspiration to the designer. In this study ten final year students enrolled into a fashion design degree program were interviewed to assess their perception of digital and physical mood boards. The students were given a task to respond to a situational design problem and tasked to create their mood board physically and digitally and then evaluate the process they followed in coming up with their fashion mood boards. It was revealed that many students preferred the physical method as it is more engaging to the designer and informative though it is time consuming unlike as compared to the digital mood board. It was also revealed that due to the decrease in print media as technology is advancing sources of material that can be used in developing a physical mood boards have become less especially for the students who relied heavily on printed magazines. The study concluded that students need to be taught the process of making physical mood boards first before they do the digital mood boards and also there is need to improve individual graphic design skills so that they can improve quality of their digital mood boards.
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Shi, Xueqing. "Research on Graphic Symbol Expression in Visual Communication Design." In 2015 4th National Conference on Electrical, Electronics and Computer Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/nceece-15.2016.87.

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Wang, Wei, and Yuhui Feng. "Design of Cross-culture Business Graphic Symbol Communication Application." In 3rd International Symposium on Asian B&R Conference on International Business Cooperation (ISBCD 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/isbcd-18.2018.28.

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Liu, Jianghui, and Handun Xiang. "Spatial Dimensional Shift in Graphic Design and Visual Communication." In 2018 International Conference on Social Science and Education Reform (ICSSER 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icsser-18.2018.88.

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Spajić, Jelena, Ksenija Mitrović, Nebojša Novaković, and Danijela Lalić. "Visual brand communication during the COVID-19 pandemic." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p23.

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Abstract:
COVID-19 has brought a number of changes in people’s lifestyles as well as in business strategies. The consumers are moving towards social media and brands are forced to adjust their positioning strategies to retain existing and attract new customers. In generating the customer engagement, the brand content must match the visual preferences of its target group. This paper reviews a relevant literature of visual communication in the context of branding focusing on changes in terms of redesign and rebranding imposed by a crisis. The aim is to identify how companies successfully developed memorable, contextually-relevant and public-educational visual brand communication and strategies during the COVID-19 pandemic. The content analysis method was used in order to create a synthesized overview of brands' visual communication and their creative solutions during the pandemic. The results of this study highlight the importance of visual communication that can be taken by brands in dealing with crisis situations such as pandemic, and its effects on consumer behaviour in the new-normal era.
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