Relevant bibliographies by topics / Visual communication design

Academic literature on the topic 'Visual communication design'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Visual communication design"

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Simlinger, Peter. "Visual communication design." Information Design Journal 25, no. 3 (December 31, 2019): 314–24. http://dx.doi.org/10.1075/idj.25.3.09sim.

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Abstract Having graduated in architecture at the University of Technology Wien [Vienna], I subsequently engaged in post-graduate studies at The Bartlett School of Architecture and Planning / University College London. Corporate design and signage design attracted my attention. Back home a major bank and Vienna airport (VIE), among others, were the first clients of my company. As chairman of Committee 133 “Public information symbols” of “Austrian Standards”, I was responsible for the elaboration of several theme specific national and international standards. In 1993 I founded the IIID International Institute for Information Design. Several r&d projects within the frame of the 6th and 7th European Union Framework Programmes for Research and Technological Development were carried out. However, due to the required but denied support from the Austrian Ministry of Science and Research, the founding of an interdisciplinary institute, affiliated to the United Nations University (UNU), did not materialize. No chance either to establish “Visual Communication Design” at a local university. Until now the Department of Typography and Graphic Communication of The University of Reading (UK) seems to be the only theme specific institution on tertiary university level in Europe. Challenges nowadays range from legible medical package inserts to a much required unified system for the European Union highway signs.
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Kostynets, Valeriia, Andriy Balandiuk, and Liubov Padiy. "VISUAL COMMUNICATION DESIGN IN HOSPITALITY." Actual Problems of Economics 1, no. 236 (February 28, 2021): 24–33. http://dx.doi.org/10.32752/1993-6788-2021-1-236-24-33.

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The article is devoted to the generalization of the design features of visual communication of hospitality brands. Visual communications is a separate field of design, which began to take shape in the 1950s. Its purpose was to study a set of problems related to the interaction of the system "man - environment", designed to organize spatial content. Visual communications of design have become an important component of the modern consumer market, finding its expression not only in advertising, but also in the image of the seller and the product itself. Visual communications have become a link between design, science and economics. Based on the results of the study, the authors analyzed the impact of visual communication design on the branding process in the HoReCa segment. The share of perception through visual images, signs, systems is incredibly large, and the formation of proper visual communication based on basic principles of perception, relevant images and associations helps to create a correct, comfortable and cost-effective space for promoting goods and services, including hotel and restaurant segment. The authors propose a classification of design elements of visual communication in the field of hospitality. There are three main time stages of design in the structure of brand design in the hospitality industry. The article identifies the features of the design of visual communication for the hotel and restaurant business. Elements of the brand, embodied in the design, form a system of visual communications, which begin to perform the functions assigned to them by corporate and marketing strategy. Objects that are visually perceived are less likely to cause hostility and more likely to form positive associations, which leads to better assimilation of information and memory, which is an important element in shaping consumer loyalty in the hospitality industry.
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Günay, Mustafa. "Design in Visual Communication." Art and Design Review 09, no. 02 (2021): 109–22. http://dx.doi.org/10.4236/adr.2021.92010.

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Gündoğdu, Hülya. "The affects of the new media design on the visual communication design." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 373–81. http://dx.doi.org/10.18844/gjhss.v2i1.321.

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Agrawala, Maneesh, Wilmot Li, and Floraine Berthouzoz. "Design principles for visual communication." Communications of the ACM 54, no. 4 (April 2011): 60–69. http://dx.doi.org/10.1145/1924421.1924439.

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Park, Ji Yong. "Communication Design for Online Visual Design Learning." International Journal of Learning: Annual Review 15, no. 2 (2008): 223–32. http://dx.doi.org/10.18848/1447-9494/cgp/v15i02/45605.

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Mejía, G. Mauricio. "Visual Intelligence and Mood in Visual Communication Design." Information Design Journal 20, no. 1 (September 23, 2013): 47–57. http://dx.doi.org/10.1075/idj.20.1.04mej.

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Human-centered design approaches are intended to provide designers with tools to improve the interaction between design objects and their human users. Often, the design principles of these approaches try to cover broad human requirements, but not particular human differences relevant to use and communication. This paper is a study of visual intelligence and mood as two of the major hypothesized human differences for visual communication design. Evidence shows that visual intelligence predicts adequate interaction patterns and that two dimensions of mood – high tense arousal and anger/frustration – negatively affect the interaction with visual information. The data also suggests that mood change might be negatively associated with interaction experience, showing that mood effects have the potential to be used as a measurement of interaction design quality.
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Singh, Gary. "Improving Visual Communication." IEEE Computer Graphics and Applications 38, no. 1 (January 2018): 8–10. http://dx.doi.org/10.1109/mcg.2018.011461523.

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Zaripova, Liliya Renatovna, Iskander Zinnurovich Rauzeev, Andrei Mikhailovich Siluyanichev, and Imash Adyshirin Gadzhiev. "Development of visual communications in graphic design." Laplage em Revista 6, Extra-B (December 24, 2020): 112–16. http://dx.doi.org/10.24115/s2446-622020206extra-b600p.106-110.

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The role of the existence of graphic design as one of the most important ways of conveyance of visual communication in modern society is determined. Visual communications are considered as a process of the need to study the totality of problems, especially those connected with the interaction of the “person – environment” system, meant for conveying visual information. The paper supports the statement that visual communications should be considered as a visual language, by using, it is possible to significantly diversify communicated information in society. The article identifies three types of communication: visual, audiovisual (the image is accompanied by sound content) and animated (a static image becomes dynamic, accompanied by sound). It is concluded that the development of visual communications will help improve the quality of perception of information, which is often associated with a flawlessly elaborated graphic design. The brand creation methods as one of the most important factors in the development of visual communications today in modern society are considered and described in detail.
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Zaripova, Liliya Renatovna, Iskander Zinnurovich Rauzeev, Andrei Mikhailovich Siluyanichev, and Imash Adyshirin Gadzhiev. "Development of visual communications in graphic design." Laplage em Revista 6, Extra-B (December 24, 2020): 112–16. http://dx.doi.org/10.24115/s2446-622020206extra-b600p.112-116.

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The role of the existence of graphic design as one of the most important ways of conveyance of visual communication in modern society is determined. Visual communications are considered as a process of the need to study the totality of problems, especially those connected with the interaction of the “person – environment” system, meant for conveying visual information. The paper supports the statement that visual communications should be considered as a visual language, by using, it is possible to significantly diversify communicated information in society. The article identifies three types of communication: visual, audiovisual (the image is accompanied by sound content) and animated (a static image becomes dynamic, accompanied by sound). It is concluded that the development of visual communications will help improve the quality of perception of information, which is often associated with a flawlessly elaborated graphic design. The brand creation methods as one of the most important factors in the development of visual communications today in modern society are considered and described in detail.
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Dissertations / Theses on the topic "Visual communication design"

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Thungren, Edvin. "Monumentalism : A Power Language in Visual Communication." Thesis, Konstfack, Grafisk Design & Illustration, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6116.

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This work is a study on the phenomenon of monumentality. It combines examples and theories from art and architecture and seeks to explore its counterparts in the context of visual communication and graphic design. The project focuses on forms and materials of culturally inherited power and explores how these aspects of monumentalism could be used as a design tool. The final result of this project was presented as a lecture and an exhibition, in excess of this written report.
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Mejia, Ramirez German Mauricio. "Visual Communication Design for Human Differences and Needs: Visual Intelligence and Mood." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277124546.

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Buwert, Peter. "Ethical design : a foundation for visual communication." Thesis, Robert Gordon University, 2016. http://hdl.handle.net/10059/1577.

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The central original contribution to knowledge proposed by this thesis is the setting forth of a conceptualisation of ethical theory specifically in relation to design, with a focus on visual communication design. Building on earlier work by design theorist Clive Dilnot in the area of design ethics and on philosopher Giorgio Agamben’s formulation of the philosophical concept of potentiality, a way of thinking about the relationship between design and ethics is proposed which concludes that design is in fact always inherently ethical. However, this conception of ethical design purposefully leaves questions of the qualification of good and bad unresolved, stating only that the ethical is the prerequisite condition in which both good and bad become possibilities. Design’s significantly unethical capability to suppress and anaesthetise individuals’ ethical experience is highlighted through a proposal of a process of an/aesth/ethics. Observation of the relationship between design and ethics in the real world through a series of interviews demonstrates something of the complexity of design’s relationship with ethics and the diverse range of positions, beliefs, attitudes and paradoxes abounding within the design profession when it comes to addressing the question of “good” design practice. Six “sites” of ethics within contemporary design discourse are introduced and discussed. The ethicality of design practices in relation to these sites are then analysed through the lens of the proposed ethical framework: identifying strengths, weaknesses and potentials within these observed strategies. The way of thinking about ethical design proposed here demonstrates potential in contributing to designers’ ability to critically consider the ethicality of their own practices. From this foundation they may be better equipped to begin addressing the question of the qualification of the “goodness” of design. In conclusion, proposals are made for how this framework could be practically developed and used to support and encourage ethical design in the real world.
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De, Villiers Lizelle. "Visual communication for a youth market : an exploration of visual meaning through co-design." Thesis, Cape Peninsula University of Technology, 2018. http://hdl.handle.net/20.500.11838/2850.

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Thesis (MTech (Design))--Cape Peninsula University of Technology, 2018.
The youth faces unique challenges due to constant movement within the global economic and technological contexts. A digitally oversaturated world with constant access to globalised, mass information makes it challenging for communication designers to reach this audience on important matters. The South African context further complicates matters as youth unemployment is at an all-time high, a lack of quality schooling continues to feed poverty and inequality, exposure to gangs, violence, trauma and sexual abuse contribute to antisocial behaviour and drug and alcohol abuse increase risky sexual behaviour. It is therefore important to connect with the youth on these matters. The need to explore the mechanisms and content which will successfully connect with a South African youth audience was identified. In response to this, this study explored what the youth considers to be meaningful communication. The main objective of this research was to explore what types of visual communication have meaning for the youth to enable communication designers to connect with the South African youth market. The study used case study methodology and data was collected qualitatively through a questionnaire and participatory methods, including two co-design workshops (with 20 participants, aged 20-27) and a small group discussion (with 5 participants). The study featured a co-design approach, which focused on collaborative meaning-making through the visualisation of communication pieces. The study identified several interconnected themes which relate to a bigger category of association. Three major categories of understanding were identified: perception (how the youth see their world); engagement (how the youth experience their world); and relevance (how the youth relate to their world). These themes provide visual communication designers with valuable insights relating to the youth audience.
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Bruno, Alexander. "Visual-Audio Media: Transformation and Communication." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3768.

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Designers are often concerned with communication through the visual; we focus on the printed object, images on screens, furniture, spaces, and other visual experiences. We should also be cognizant of audio and its communicative properties, especially when contextualized with visual content. Pairing visuals and audio can make a greater impact upon a viewer/listener than each media might make alone. My research focuses on a practice of working within strict sets of rules and boundaries to create visual-audio work. This visual-audio work not only communicates a concept or idea, but also lives as a research artifact of my design processes.
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Wood, David Alexander. "Visual phenomenological methodology : the repositioning of visual communication design as a fresh influence on interaction design." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22882.

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This practiced-based thesis examines how a new Visual Communication methodology helps interaction designers to improve their future designs. This is achieved by engaging in creating visual interpretations from a lived experience that they need to design for, to reveal the phenomenological essence of what users have actually experienced, rather than what they say they have. This new Visual Phenomenological Methodology (VPM) places interaction designers into a specific communicational situation, in order to understand the phenomena of users’ lived experience ‘through their eyes.’ Thus immersed, interaction designers montage visual interpretations of what users saw/felt/did in the lived experience. The VPM facilitates interaction designers into designer-interpreters, who can interpret sensory data into a behavioural story of what its like to be the user in a lived experience. This thesis has developed the VPM across three peer reviewed, practice-based projects, using a synthesis of the pragmatic semiotics of Peirce, Hermeneutic Phenomenology, and visual communication techniques. Following the Frascaran view that the design discipline of Visual Communication (graphic design and illustration) is a positive facilitator of behavioural change, the VPM employs this hermeneutic-semiosis synthesis to facilitate interaction designers to develop a deeper and emergent understanding of the hidden motivations behind user behaviour. Through a contextual review into Visual Communication, Interaction Design, Phenomenology and Semiosis, this thesis develops the VPM from a theoretical concept, to a set of designer-friendly method cards that interaction designers can employ during their ideation phase. Throughout its development the VPM and its method cards were workshopped and peer reviewed by interaction designers. This thesis, over the following seven chapters, demonstrates how the VPM successfully provided Visual Communication design with a fresh way to re-influence Interaction Design, as a new contribution to knowledge.
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RODRIGUES, ROBERTA PORTAS GONCALVES. "DESIGN COURSE COMPLETION PROJECT - VISUAL COMMUNICATION: A CASE STUDY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15113@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Observar o desenvolvimento de projetos de alunos em Design é um ótimo exercício na busca afinarmos as diretrizes de uma instituição de ensino com o real processo percorrido pelos alunos. A presente pesquisa é um estudo de caso realizado com alunos da disciplina Planejamento, Projeto e Desenvolvimento - Comuicação Visual Conclusão (PPD-CV Conclusão), última disciplina de projeto do curso de Design da PUC-Rio, habilitação Comunicação Visual, pertencente ao currículo em vigor para alunos que ingressaram por vestibular até 2007. Durante o segundo semestre de 2007 e o primeiro semestre de 2008, o desenvolvimento dos projetos dos alunos da turma da professora tutora Izabel de Oliveira foi observado com o objetivo de identificar nas etapas percorridas pelos alunos, lacunas que pudessem ser trabalhadas. No processo destacamos 4 projetos que são apresentados à luz de fundamentação teórica, trazendo um olhar crítico sobre os processos percorridos pelos alunos.
The development of projects by Design students is an excellent exercise when it comes to searching for the gaps to be covered in an attempt to finetune the guidelines of a teaching institution based on the real progress made by its students. This research involves a case study conducted with students of the PPD-CV Conclusion Course, the last subject in the Design course at PUC-Rio, Visual Communications Major, belonging to the curriculum prior to 2007. During the second semester of 2007 and the first semester of 2008, the researchers observed the development of the projects by students from the class of Tutor Professor Izabel de Oliveira with the objective of identifying the stages completed by the same as they develop their projects, gaps that could be worked. In order to ensure a critical perspective on the completed processes, the researchers highlight four projects that are presented based on a theoretical foundation.
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LAUFHÜTTE, MARIA LUIZA ZENOBIO DE ASSUMPÇÃO VILLAR. "CINEMA S PRODUCTION DESIGN: SCENOGRAPHY S VISUAL COMMUNICATION PROCESS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27526@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Esta dissertação propõe-se a pesquisar o Design de Produção através dos cenários e dos objetos cenográficos que os compõem com a intenção de estabelecer a comunicação visual do filme com o espectador.
This dissertation proposes to research Production Design through the movie set and the props that compose it with intention to establish the visual communication with the viewer.
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The, Richard. "Subjectified : personification as a design strategy in visual communication." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/62083.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 87-89).
When we encounter statistics too far removed from our personal experience, we sometimes find it difficult to imagine the real implications of that data. While we might understand the information logically, it can be hard to relate it to our immediate personal lives. In this thesis, I investigate a novel visual representation for such data, which I call Personification of Information. This alternative form of data visualization incorporates real people within the viewer's immediate physical or social environment as part of the representation. The goal of this visualization technique is to bring information that is otherwise perceived as distant and detached closer to the viewer. This design strategy is explored in three artistic projects, "What If the World were your n Facebook friends?", "Unification-A Case Study?" And "What Was the Media Lab Thinking About In The Year _ _ _ ?" They are complemented by two projects from other areas that investigate Personification as a design strategy to bring the abstract closer to the individual: "Omnivisu" uses Personification as an interface to architecture; "Giving Character to Characters" applies the strategy to augment digital typography with human expression. Additionally I formalize the findings of these projects as a set of generalized design parameters for Personification of Information.
by Richard The.
S.M.
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Schmidt, Gregory J. "positions of place: converging viewpoints in visual communication." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4823.

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This thesis includes a body of work that explores our visual relationship to the physical spaces and places we inhabit in our everyday lives. Today we live in a complex world where we are bombarded with fragments of information and inundated with distractions. As designers, we are equipped with tools and methods that allow us to experience and interpret our environment through multi-faceted perspectives and from different viewpoints. My approach to graphic design adopts techniques and practices from a mix of different disciplines. The work focuses on a design process that alternates between the parallel depiction of first-person and third-person vantage points mediated through contemporary technologies.
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Books on the topic "Visual communication design"

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Gowers, Peter. Design and communication: For foundation courses. Glasgow: Blackie, 1988.

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

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1947-, Van Leeuwen Theo, ed. Reading images: The grammar of visual design. London: Routledge, 1996.

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

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Cleverley, Mark. The visual considerations of bilingual communication design. Wellington N.Z: Wellington Polytechnic School ofDesign, 1994.

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author, Augsburg Anke, McKenna Christina translator, and Munroe Lindsay translator, eds. Colour: Design principles, planning strategies, visual communication. Munich: Edition Detail, 2014.

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Gowers, Peter. Design and communication for foundation courses. Walton-on-Thames, [Eng.]: Nelson Blackie, 1992.

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Administration, United States National Oceanic and Atmospheric. [NOAA visual communication standards]. [Washington, D.C.?: National Oceanic and Atmospheric Administration, 1988.

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Administration, United States National Oceanic and Atmospheric. [NOAA visual communication standards]. [Washington, D.C.?: National Oceanic and Atmospheric Administration, 1988.

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Poukman, Natalie. Intruding privacy in visual communication: M.A. Communication Design Thesis 2001. London: Central Saint Martins College of Art & Design, 2001.

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Book chapters on the topic "Visual communication design"

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Huck, Friedrich O., Carl L. Fales, and Zia-ur Rahman. "Electro-Optical Design." In Visual Communication, 139–73. Boston, MA: Springer US, 1997. http://dx.doi.org/10.1007/978-1-4757-2568-1_7.

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Thorlacius, Lisbeth. "Visual Communication in Web Design – Analyzing Visual Communication in Web Design." In International Handbook of Internet Research, 455–76. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-9789-8_28.

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Elbardawil, Shaima. "Jordanian Banknote Design." In Handbook of Visual Communication, 171–84. Second edition. | New York, NY: routledge, 2020. | Series: Routledge communication series: Routledge, 2020. http://dx.doi.org/10.4324/9780429491115-15.

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Mukhopadhyay, Prabir. "The Coding of Visual Information." In Visual Ergonomics for Communication Design, 15–36. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003369516-2.

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Ando, Yoichi, and Peter Cariani. "Neurally Based Acoustic and Visual Design." In Acoustics, Information, and Communication, 145–76. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-05660-9_8.

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Mukhopadhyay, Prabir. "Typography and Colour." In Visual Ergonomics for Communication Design, 37–50. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003369516-3.

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Mukhopadhyay, Prabir. "Visual Ergonomics in Emergency Situations and for the Challenged and Elderly." In Visual Ergonomics for Communication Design, 51–70. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003369516-4.

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Mukhopadhyay, Prabir. "Visual Ergonomics of Information Collection and Dissemination to Users." In Visual Ergonomics for Communication Design, 71–92. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003369516-5.

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Mukhopadhyay, Prabir. "The World of Wonders, Origin, and How to Move Forward." In Visual Ergonomics for Communication Design, 1–14. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003369516-1.

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Mukhopadhyay, Prabir. "Exercises in Visual Ergonomics Related to Communication Design: Some Directions." In Visual Ergonomics for Communication Design, 93–102. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003369516-6.

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Conference papers on the topic "Visual communication design"

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Udayana, Anak Agung Gde Bagus. "Processing Visual Communication." In ICON ARCCADE 2021: The 2nd International Conference on Art, Craft, Culture and Design (ICON-ARCCADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211228.028.

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"Research of Visual Performance in Visual Communication Design." In 2018 4th International Conference on Social Sciences, Modern Management and Economics. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/ssmme.2018.62236.

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McNely, Brian J. "Visual research methods and communication design." In the 31st ACM international conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2507065.2507073.

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Hao, Yawe. "Visual communication in multimedia engineering design." In 3rd International Conference on Green Communications and Networks. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/gcn130461.

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Zhao Chao. "The creation of the independence of visual communication design and visual effects." In 2010 IEEE 11th International Conference on Computer-Aided Industrial Design & Conceptual Design 1. IEEE, 2010. http://dx.doi.org/10.1109/caidcd.2010.5681377.

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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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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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"Application of Interaction Design on Visual Communication Design." In 2018 4th International Conference on Education, Management and Information Technology. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icemit.2018.052.

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Köksal, Fatma Nazlı, and Hasan Doğan. "VISUAL SEMIOLOGY IN ARCHITECTURAL DESIGN." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctc.2021/ctc21.004.

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Beyond being a shelter, houses are such structures which obtain meanings shaped by the influence of culture, particularly reflecting the society’s socio-cultural structure. As a time-khronos and space-topos pattern, the houses reflect the characteristics of the culture or ethnic group which they are part of, while on the other hand, they reflect the images of the individual’s essence as a communicative action. The effect of climate and typology, which are physical components of culture, as well as social components of culture, such as value systems, belief, lifestyle and habits, are cardinal factors in the formation of traditional houses. In this respect, traditional structures are visual representation spaces that narrates their own story, like verbal culture, and they convey their unique codes through visuality. This study, which discusses traditional architecture as a cultural text, aims to reveal traditional Urfa houses through analytical readings, within the context of visual semiology.. The samples selected within the scope of the study will be evaluated according to the context of stylistic features they are part of, such as plan and spatial perspective, the location of the houses, and detections regarding the visual culture will be discussed through the cultural and architectural design approach of Umberto Eco.
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Köksal, Fatma Nazlı, and Hasan Doğan. "Visual Semiology in Architectural Design." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.002.

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Beyond being a shelter, houses are such structures which obtain meanings shaped by the influence of culture, particularly reflecting the society’s socio-cultural structure. As a time-khronos and space-topos pattern, the houses reflect the characteristics of the culture or ethnic group which they are part of, while on the other hand, they reflect the images of the individual's essence as a communicative action. The effect of climate and typology, which are physical components of culture, as well as social components of culture, such as value systems, belief, lifestyle and habits, are cardinal factors in the formation of traditional houses. In this respect, traditional structures are visual representation spaces that narrates their own story, like verbal culture, and they convey their unique codes through visuality. This study, which discusses traditional architecture as a cultural text, aims to reveal traditional Urfa houses through analytical readings, within the context of visual semiology. The samples selected within the scope of the study will be evaluated according to the context of stylistic features they are part of, such as plan and spatial perspective, the location of the houses, and detections regarding the visual culture will be discussed through the cultural and architectural design approach of Umberto Eco.
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Xiao, Siyang, Yan Liu, and Jiayao Wang. "Research on qCreativeq Visual Thinking Mode in Visual Communication Design." In 2017 7th International Conference on Mechatronics, Computer and Education Informationization (MCEI 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/mcei-17.2017.191.

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Reports on the topic "Visual communication design"

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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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Mai Phuong, Nguyen, Hanna North, Duong Minh Tuan, and Nguyen Manh Cuong. Assessment of women’s benefits and constraints in participating in agroforestry exemplar landscapes. World Agroforestry, 2021. http://dx.doi.org/10.5716/wp21015.pdf.

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Participating in the exemplar landscapes of the Developing and Promoting Market-Based Agroforestry and Forest Rehabilitation Options for Northwest Vietnam project has had positive impacts on ethnic women, such as increasing their networks and decision-making and public speaking skills. However, the rate of female farmers accessing and using project extension material or participating in project nurseries and applying agroforestry techniques was limited. This requires understanding of the real needs and interests grounded in the socio-cultural contexts of the ethnic groups living in the Northern Mountain Region in Viet Nam, who have unique social and cultural norms and values. The case studies show that agricultural activities are highly gendered: men and women play specific roles and have different, particular constraints and interests. Women are highly constrained by gender norms, access to resources, decision-making power and a prevailing positive-feedback loop of time poverty, especially in the Hmong community. A holistic, timesaving approach to addressing women’s daily activities could reduce the effects of time poverty and increase project participation. As women were highly willing to share project information, the project’s impacts would be more successful with increased participation by women through utilizing informal channels of communication and knowledge dissemination. Extension material designed for ethnic women should have less text and more visuals. Access to information is a critical constraint that perpetuates the norm that men are decision-makers, thereby, enhancing their perceived ownership, whereas women have limited access to information and so leave final decisions to men, especially in Hmong families. Older Hmong women have a Vietnamese (Kinh) language barrier, which further prevents them from accessing the project’s material. Further research into an adaptive framework that can be applied in a variety of contexts is recommended. This framework should prioritize time-saving activities for women and include material highlighting key considerations to maintain accountability among the project’s support staff.
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Getting men involved in family planning: Experiences from an innovative program. Population Council, 1998. http://dx.doi.org/10.31899/rh1998.1036.

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This study was designed to determine the effect of interventions on accelerated proactive male involvement in family planning (FP) and factors influencing acceptance of male contraceptive methods. It was observed that a program can be successful if management cadres can be motivated and involved in the process. Other findings suggest the importance of education and communication materials, supply of information, orientation of fieldworkers, and mobilization of resources including hands-on refresher training. Misconceptions about male contraception (particularly vasectomy) are rampant in traditional Bangladeshi society, thus ideas should be positively expressed through visual aids. Among the various communications materials, at least one must be for service providers. According to this report, motivation is important in getting men involved in FP, as are efforts to create a male-friendly service delivery system at existing service delivery centers. Specially scheduled hours should be set aside for the provision of information and services to men, from the Health and Family Welfare Centers and at the community level.
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