Relevant bibliographies by topics / Graphic design

Academic literature on the topic 'Graphic design'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Graphic design"

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Staribratov, Ivaylo, and Nikol Manolova. "Application of Mathematical Models in Graphic Design." Mathematics and Informatics LXV, no. 1 (February 28, 2022): 72–81. http://dx.doi.org/10.53656/math2022-1-5-app.

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The article shares the practical experience in creating graphic design in the implementation of projects in the field of applied information technology. The creation of digital art is largely based on mathematical models and concepts that give a good perception of graphics, and it is scientifically justified. The STEAM approach is considered with the idea of the transdisciplinary level of integration between mathematics, graphic design and production practice in student education. For the development of projects like logo design, magazine cover and others, we use software specialized in the field of graphic design and computer graphics. For the realization of the considered projects, among which there are also awarded ones, we use CorelDRAW, Adobe InDesign and Desmos.
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Kim, Minwoo. "A Study on the Legal Protection of Graphic Design on the Metaverse Platform." Institute of Legal Myongji University 22, no. 1 (July 31, 2023): 93–115. http://dx.doi.org/10.53066/mlr.2023.22.1.93.

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With the advent of the non-face-to-face digital era due to the spread and prolonged spread of COVID-19, interest in metaverse, which corresponds to virtual space, has soared, and various platforms have emerged using metaverse-related technologies. As for the design related to the metaverse, the Design Protection Law did not provide a separate regulation for graphic design at the time, so it was protected as a partial design expressed on the part of the product. With the revision of the Design Protection Law in 2021, the concept of graphic emerged. Under the revised law, graphics cannot be an effective means of protection for various newly emerging graphic designs because they contain only graphics that are used or functionally used to operate devices. In a situation where new types of graphic design are continuously created, only the most basic form of graphic design is protected, so there are still many graphic designs that are excluded from protection. In particular, since the design ceated in the virtual world based on the real world motif is very similar in appearance to the design in the real world, the graphic design protection system under the current law can be a major obstacle to protecting the design created in the virtual space and preventing the rights of others. Therefore, this paper aims to categorize metaverse through prior research, investigate the protection system of graphic design under the current law, and present the direction of improvement of the graphic design system for graphic protection in the virtual world most similar to the real world.
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Liu, Dou. "Research on Design Innovation of Graphical Advertisement Based on Visualization and Graphics." Highlights in Science, Engineering and Technology 23 (December 3, 2022): 291–97. http://dx.doi.org/10.54097/hset.v23i.3612.

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This paper explores the application of the combination of "visualization" and "graphics" in the expression of graphic advertising design. Based on the contents of psychology and advertising, literature research, comparative analysis, empirical research, and interdisciplinary research are used to identify feasible ways to present visual expressions that combine "visualization" and "graphics". The technology that combines "visualization" and " graphics" has enriched the presentation of graphic design, broadened the expression of graphic design, and provided new room for the creation and expression of two-dimensional graphic advertising design.
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Tao, Zongxiao. "Algorithm for Automatic Layout of Graphic Language and Its Application in Graphic Design." International Journal of Information Systems and Supply Chain Management 17, no. 1 (June 7, 2024): 1–19. http://dx.doi.org/10.4018/ijisscm.345396.

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When using traditional algorithms to describe graphic languages, the results obtained are not accurate due to the lack of strict standards. In this case, the size and position of the graphic display cannot be accurately determined. Aiming at these problems, we propose a new automatic typesetting algorithm for graphic languages. Use the constant method to calculate the display size of buffered images in graphic design. The ant colony algorithm is used to solve the optimal solution, so that the optimal display position of the graphics in the graphic design can be obtained. Graphics are powerful. For example, excellent graphics such as the presentation of forms, the expression and transmission of information, often make people feel relaxed and empathetic, shorten the distance between each other, and make communication smoother. As a result, graphic languages have become an important part of modern graphic design and are used more and more frequently. This paper attempts to analyze the representation of graphic language, aiming to demonstrate its important role in graphic design.
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S, Subhasre, and Nirmala Varghese. "A study on consumer attitude and preferences towards graphic design on clothing." Scientific Temper 14, no. 01 (March 25, 2023): 196–205. http://dx.doi.org/10.58414/scientifictemper.2023.14.1.24.

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Graphic design in the fashion industry is a magic tool. Fashion is all about fading trends and timelessness all at the same time. There are so many possibilities for graphic design to influence the fashion industry. It is a clothing brand that helps in selling fashion as art. Graphic design as a concept revolves around conveying a message. Since the fashion industry is supported by graphic design, the world becomes a massive canvas that shows individual personalities. The main aim of the research is to conduct a survey for graphic Tees among the target customers to know their knowledge and awareness and also to get their design preferences on various aspects of graphics. Based on the understanding, graphics were developed and a feedback survey was collected to know the acceptance of the developed graphic design. Manufacturing practicality and commercialization of the developed graphics were also discussed.
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陈, 彦均. "Exploring the Elements and Principles of Graphic Language in Visual Graphic Design." Design 09, no. 03 (2024): 888–94. http://dx.doi.org/10.12677/design.2024.93396.

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Huang, Jian Wen. "Character Pattern Design to Achieve Digital Media." Advanced Materials Research 1055 (November 2014): 346–49. http://dx.doi.org/10.4028/www.scientific.net/amr.1055.346.

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Character graphic design objectives and principles of digital media completed the implementation of the concept embodied in the visual design of the series. In this paper, the Character in the implementation of digital media graphic design, visual communication line to get through basic and applied to distinguish among the barriers. Character graphics digital media visual resource selection and integration will be the first graphic visual objects, followed by the use of Character graphics source element deconstruction, beaten, restructuring plan, the formation of "Ba Feier" international dance education institutions Character graphics program, the program design process adjust the original design symbol around each of the following important node, expand the design imagination, linking the core elements of the design work is completed.
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Li, Ying, and Ye Tang. "Design on Intelligent Feature Graphics Based on Convolution Operation." Mathematics 10, no. 3 (January 26, 2022): 384. http://dx.doi.org/10.3390/math10030384.

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With the development and application of artificial intelligence, the technical methods of intelligent image processing and graphic design need to be explored to realize the intelligent graphic design based on traditional graphics such as pottery engraving graphics. An optimized method is aimed to be explored to extract the image features from traditional engraving graphics on historical relics and apply them into intelligent graphic design. For this purpose, an image feature extracted model based on convolution operation is proposed. Parametric test and effectiveness research are conducted to evaluate the performance of the proposed model. Theoretical and practical research shows that the image-extracted model has a significant effect on the extraction of image features from traditional engraving graphics because the image brightness processing greatly simplifies the process of image feature extraction, and the convolution operation improves the accuracy. Based on the brightness feature map output from the proposed model, the design algorithm of intelligent feature graphic is presented to create the feature graphics, which can be directly applied to design the intelligent graphical interface. Taking some pottery engraving graphics from the Neolithic Age as an example, we conduct the practice on image feature extraction and feature graphic design, the results of which further verify the effectiveness of the proposed method. This paper provides a theoretical basis for the application of traditional engraving graphics in intelligent graphical interface design for AI products such as smart tourism products, smart museums, and so on.
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Zheng, Yuchuan. "Visual Memory Neural Network for Artistic Graphic Design." Scientific Programming 2022 (August 16, 2022): 1–9. http://dx.doi.org/10.1155/2022/2243891.

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Artistic graphic design is the aesthetic result of the designer’s fusion of various elements, with a high degree of independence. Considering the lack of significant visual design scope and aesthetic indicators of graphic design, our research aims to build an upgraded network model that can categorize different types of artistic graphics with labels and realize the free combination of graphic solutions. We realize the scheme reorganization of artistic graphic design from the perspective of computer vision and propose the artistic graphic design method based on memory neural network. We built a computer vision environment and reconstructed the computer vision network to set up an independent deep camera vision range calculation law. Considering the artistic graphic region segmentation problem, we propose the self-attentive mechanism, which can quantitatively segment different artistic graphic regions according to temporal features, before arranging them in a sequence to obtain the graphic region feature vector. We also add the LSTM structure based on the attention mechanism to match with the self-attention features of the graphical region segmentation module and pass the matched attention feature vector to the LSTM network to extract the labeled text feature information of the graphs. To test the effectiveness of our method, we build a database of artistic graphics and set up an adaptive training process. We also compared deep learning methods of the same type, and the experimental results proved that our method outperformed other deep methods in artistic graphic design by keeping the scheme reorganization accuracy and quantitative evaluation of artistic models above 90%.
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Karaata, Ezgi. "Significance of sketch in creativity process related to graphic design education." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 504–9. http://dx.doi.org/10.18844/prosoc.v2i1.337.

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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.Â
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Dissertations / Theses on the topic "Graphic design"

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Sisson, Laurel. "Experiential design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11222.

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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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Settergren, Jane Ann. "PresentationMaker : Graphic Design Archive module 3.2 /." Online version of thesis, 1992. http://hdl.handle.net/1850/11072.

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Hansen, Bret. "Graphic Design as Projection." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2117.

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I imagined a world where designing is projecting and where the entire design field is called projection. My research into what it means to be a projector culminates in a participatory creative project that embodies concepts of projection taken from a range of disparate subjects.
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Hunter, Darrin S. "Regionalism in Graphic Design." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367928330.

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Юрченко, Д. В. "Color in graphic design." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10806.

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Yurchenko, Daryna. "Contrast in graphic design." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13186.

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Пугачова, Анна Олегівна. "Rules for graphic design." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15355.

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Plouffe, Danielle Grace. "Graphic design career information /." Online version of thesis, 1993. http://hdl.handle.net/1850/11960.

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Barbieri, Chiara. "Graphic design and graphic designers in Milan, 1930s to 1960s." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2816/.

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Graphic design holds a marginal position in the Italian design historiography in relation to industrial design. Often written by and for graphic designers, histories have tended to concentrate on changes in graphic styles as exemplified in works by prominent designers or the visual communication strategies of major companies. By contrast, this thesis addresses the organisation of the graphic design profession in Milan, from the interwar period to the mid-1960s. Key aspects explored include: graphic design’s mutable meanings and practices; formal and informal educational practices; graphic designers’self-identification with a new profession; and the structures they created to organise and make their practice visible. A focus on dialogue and negotiation between different interest groups stresses the relational and contingent nature of design professions. The thesis asks whether Milan’s graphic practitioners capitalised on modernist ideas such as standardisation, universalism, objectivity and functionalism to distance themselves from graphic arts and advertising, and enable re-categorisation within design. Thus, it problematises the relationship between professionalisation and international modernism, within the specific context of industrial structures in Milan and the hierarchy of design practice in twentieth-century Italy more broadly. The thesis provides an original retelling of stories often taken for granted, and looks behind individual designers and big companies to uncover overlooked narratives. Five chapters addressing the Scuola del Libro and the Cooperativa Rinascita in Milan, the ISIA in Monza, the Milan Triennale, the Studio Boggeri and the associations AIAP and ADI draw attention to educational issues, design practice, professional organisations, networks and mediating channels that have defined, legitimised, represented, advanced, contrasted, and articulated the graphic design profession in Milan. The argument is built on close scrutiny of archival material and other primary sources, including extensive visual material and oral interviews. Methodologies derive principally from history of design and visual culture, and place great emphasis on visual analysis. Visual artefacts are approached both as visual expressions of design methodologies and aesthetic principles and, drawing on actor-network-theory, as three-dimensional actors that interact with people and other artefacts. Despite focusing on the local, the thesis draws on global design history as a methodology by taking into account the dynamic and multi-directional movement of people, ideas, and artefacts within transnational circuits. Building on sociological stances, it approaches professions as socially constructed concepts and argues that professional identities are constantly in formation and require continual adaptation to shifting environments, agendas and design discourses. The thesis aims to offer neither a comprehensive history of Italian graphic design nor a final assessment of its professionalisation. Rather, it prioritises the process of professionalisation, by stressing tensions and contradictions, and by following practitioners’ struggle to articulate what graphic design is. The originality and potential impact of the thesis lie in its endeavour to present a closely-articulated history of the graphic design profession in Milan that draws attention to economic, industrial, political, social and technological contexts, and to propose this as a template for the writing of graphic design history. Furthermore, it provides a historically-integrated, archive-based, outward-looking model for graphic design history as an integral part of the history of design.
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Books on the topic "Graphic design"

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Helmer, Poggenpohl Sharon, ed. Graphic design: computer graphics: A special graphic design education issue. Cleveland, Ohio: Visible language, 1985.

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Group, Entrepreneur, ed. Graphic design. [Irvine, CA] (2392 Morse Ave., Irvine 92714): Entrepreneur Group, 1993.

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Bulloch, Ivan. Graphic design. London: Two-Can, 1990.

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Kallen, Stuart A. Graphic design. Detroit: Lucent Books, 2009.

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Lausanne, Ecole cantonale d'art de. Graphic design =: Design graphique. Zurich: ECAL, 2004.

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Heller, Steven. Design Literacy: Understanding Graphic Design. 2nd ed. New York: Allworth Press, 2004.

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Karen, Pomeroy, ed. Design literacy: Understanding graphic design. New York: Allworth Press, 1997.

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Steven, Heller. Design literacy: Understanding graphic design. New York: Allworth, 1997.

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Broos, C. Dutch graphic design. London: Phaidon Press, 1993.

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Steven, Heller, and Ballance Georgette, eds. Graphic design history. New York: Allworth Press, 2001.

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Book chapters on the topic "Graphic design"

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Watkiss, Stewart. "Graphic Design." In Beginning Game Programming with Pygame Zero, 111–30. Berkeley, CA: Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-5650-3_5.

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Straßer, Josef. "Graphic Design." In Italien: Design 1945 bis heute, 207–41. Basel: Birkhäuser Basel, 1988. http://dx.doi.org/10.1007/978-3-0348-6424-4_7.

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Aucompte, Yann. "Graphic Design." In Arts, Ecologies, Transitions, 101–4. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003455523-26.

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Moline, Steve. "Graphic Design." In I See What You Mean, 205–40. 2nd ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781032681252-13.

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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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Barnes, Alison. "Geo/Graphic Design." In Non-Representational Theory and the Creative Arts, 19–32. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-5749-7_2.

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Christiansen, Jen. "Graphic Design Fundamentals." In Building Science Graphics, 45–50. Boca Raton: A K Peters/CRC Press, 2022. http://dx.doi.org/10.1201/9781003217817-5.

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Compesi, Ronald J. "Postproduction Graphic Design." In Video Field Production and Editing, 243–53. Eighth edition. | New York : Routledge, Taylor & Francis Group, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429505935-14.

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Lester, Paul Martin. "Graphic Design Ethics." In Visual Ethics, 104–14. 2nd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003243045-10.

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Robertson, Margaret. "Graphic Design 101." In Communicating Sustainability, 95–109. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315659015-9.

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Conference papers on the topic "Graphic design"

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Dan, Luo. "Computer graphic design software applications in graphic design." In Mechanical Engineering and Information Technology (EMEIT). IEEE, 2011. http://dx.doi.org/10.1109/emeit.2011.6023663.

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Rogal, Maria. "Decolonizing Graphic Design." In European Academy of Design Conference Proceedings 2015. Sheffield Hallam University, 2016. http://dx.doi.org/10.7190/ead/2015/90.

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Long, Tian. "Reconstructing the New Significance of Combining Graphic Language —— Hand-drawn Graphic Language with Computer Graphics Language." In 2021 International Conference on Computer Technology and Media Convergence Design (CTMCD). IEEE, 2021. http://dx.doi.org/10.1109/ctmcd53128.2021.00008.

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DEMARCHI, Ana Paula Perfetto, Cleuza Bittencourt Ribas FORNASIER, and Rosane Fonseca de Freitas MARTINS. "The graphic translation by the designer’s sensitive rationality." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-097.

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Zhao, Hong-ying, and Jing-qiu Tang. "Graphic Identification System's Design and Research Based on Graphics Primitive." In 2011 Fourth International Conference on Information and Computing (ICIC). IEEE, 2011. http://dx.doi.org/10.1109/icic.2011.8.

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Novikova, Marina Mikhailovna. "Type Graphics in Commercial Advertising Design: Graphic and Stylistic Interpretations." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-541229.

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CAVALCANTE, Sebastião A., Malthus O. QUEIROZ, Clara S. LIMA, and Silvio BARRETO CAMPELLO. "The presence of the autotype technique in the weekly Cri-Cri’s graphic design project: traces of the graphic memory in the Brazilian state of Pernambuco." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-077.

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Dutra, Thiago Luiz Mendes, and Letícia Pedruzzi Fonseca. "Graphic memory of newspaper Posição." In 6th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-cidi-176.

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Margolin, Victor. "Brazilian Graphic Design in the ‘20s and ‘30s: Modernism and Modernity." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-099.

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Harland, Robert. "Graphic standards in graphic heritage: Scope, scale, and unity through multiplicity in Islamic design." In IASDR 2023: Life-Changing Design. Design Research Society, 2023. http://dx.doi.org/10.21606/iasdr.2023.498.

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Reports on the topic "Graphic design"

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Casner, Stephen, and Jill H. Larkin. Cognitive Efficiency Considerations for Good Graphic Design. Fort Belvoir, VA: Defense Technical Information Center, January 1989. http://dx.doi.org/10.21236/ada218976.

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Berry, Nina. Anticommercial Purposes: New Methods in Graphic Design and Radical Environmental Change. Portland State University Library, January 2016. http://dx.doi.org/10.15760/honors.287.

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Удріс, Ірина Миколаївна, and Наталя Сергіївна Удріс-Бородавко. Design of the Franco-Belgian Exhibition Poster of the 1890-s in the Context of the Art Nouveau Style Formation. КНУКіМ, 2019. http://dx.doi.org/10.31812/123456789/5087.

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The purpose of the article is to determine the artistic and graphic peculiarities of the Franco-Belgian exhibition poster of the 1890s in the context of the formation of the Art Nouveau style. The research methodology of the work is based on the use of traditional art methods: historical and cultural, reconstructive and model, historical and attributive, which contributed to the revealing of artistic and graphic transformations in the field of Franco-Belgian spectacular poster. The scientific novelty of the article lies in the author’s artistic interpretation of the stylistic manner of the creators of the spectacular poster in “style floreale” as one of the leading directions of the development of the artistic style of that period. The distinctive features of this type of the artistic work are outlined on the basis of the review of the stylistic and image transformations of exhibition posters of the famous artists – J. Chéret, A. Toulouse-Lautrec, E. Grasset, A. Mucha, A. Privat-Livemont and others. Attention is focused on the identification of the presentation features of the advertised exhibition events as an important cultural events of that time. Means of artistic visualization of information are studied taking into consideration the specific nature of the poster. Conclusions. In the general cultural and historical context of that time, the poster has become a significant component of the formation of national trends in the artistic style of the day, in particular - the Franco-Belgian Art Nouveau style. The exhibition poster, reflecting the stylistic landmarks of the time, contributed to the formation of the artistic vision as a manifestation of the cultural and artistic landmarks of the studied period.
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Murphy, Joe J., Michael A. Duprey, Robert F. Chew, Paul P. Biemer, Kathleen Mullan Harris, and Carolyn Tucker Halpern. Interactive Visualization to Facilitate Monitoring Longitudinal Survey Data and Paradata. RTI Press, May 2019. http://dx.doi.org/10.3768/rtipress.2019.op.0061.1905.

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Surveys often require monitoring during data collection to ensure progress in meeting goals or to evaluate the interim results of an embedded experiment. Under complex designs, the amount of data available to monitor may be overwhelming and the production of reports and charts can be costly and time consuming. This is especially true in the case of longitudinal surveys, where data may originate from multiple waves. Other such complex scenarios include adaptive and responsive designs, which were developed to act on the results of such monitoring to implement prespecified options or alternatives in protocols. This paper discusses the development of an interactive web-based data visualization tool, the Adaptive Total Design (ATD) Dashboard, which we designed to provide a wide array of survey staff with the information needed to monitor data collection daily. The dashboard was built using the R programming language and Shiny framework and provides users with a wide range of functionality to quickly assess trends. We present the structure of the data used to populate the dashboard, its design, and the process for hosting it on the web. Furthermore, we provide guidance on graphic design, data taxonomy, and software decisions that can help guide others in the process of developing their own data collection monitoring systems. To illustrate the benefits of the dashboard, we present examples from the National Longitudinal Study of Adolescent to Adult Health (Add Health). We also discuss features of the dashboard to be developed for future waves of Add Health.
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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina, and Ekaterina O. Shmeltser. Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis. [б. в.], July 2020. http://dx.doi.org/10.31812/123456789/3864.

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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.
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6

Ho, F. H. Graphite design handbook. Office of Scientific and Technical Information (OSTI), September 1988. http://dx.doi.org/10.2172/714896.

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7

Bederson, Benjamin B., Jesse Grosjean, and Jon Meyer. Toolkit Design for Interactive Structured Graphics. Fort Belvoir, VA: Defense Technical Information Center, January 2003. http://dx.doi.org/10.21236/ada440520.

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8

Yahr, G. T., and D. G. O`Connor. Structural design criteria and design data for AVLIS graphite components. Office of Scientific and Technical Information (OSTI), September 1985. http://dx.doi.org/10.2172/711805.

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9

Green, Alastair, and Hannes Voigt, eds. Introduction to Graph Schema design. Linked Data Benchmark Council, October 2019. http://dx.doi.org/10.54285/ldbc.epwq6741.

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This presentation was prepared to summarize a design for Graph Schema for an internal audience in Neo4j reflecting multiple strands of work including WG3 standards contributions and the Cypher for Apache Spark project
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10

Rickard, N. D. STRUCTURAL DESIGN CRITERIA FOR REPLACEABLE GRAPHITE CORE ELEMENTS. Office of Scientific and Technical Information (OSTI), September 1989. http://dx.doi.org/10.2172/10197186.

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