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Journal articles on the topic 'Visual design'

To see the other types of publications on this topic, follow the link: Visual design.

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

Maitreya, V. K. "Energy Consideration in Visual Environmental Design." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 78, Appendix (1994): 119–20. http://dx.doi.org/10.2150/jieij1980.78.appendix_119.

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2

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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3

秦, 铭乾. "Preliminary Study on the Design of Visual AIDS for Garbage Classification." Design 05, no. 03 (2020): 32–38. http://dx.doi.org/10.12677/design.2020.53006.

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4

Wadlow, Maria G. "Visual Interaction Design." ACM SIGCHI Bulletin 28, no. 4 (October 1996): 10. http://dx.doi.org/10.1145/242417.568018.

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5

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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6

Wadlow, Maria G. "Visual interaction design." ACM SIGCHI Bulletin 28, no. 1 (January 1996): 32–33. http://dx.doi.org/10.1145/249170.249178.

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7

Ford, Shannon. "Visual interaction design." ACM SIGCHI Bulletin 30, no. 4 (October 1998): 22–23. http://dx.doi.org/10.1145/310307.310336.

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8

Marchak, Frank M. "Visual interaction design." ACM SIGCHI Bulletin - a supplement to interactions 2000 (July 2000): 9. http://dx.doi.org/10.1145/362378.362393.

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9

胡, 坚. "A Research of Approach on the Visual Design of Integrity Education in Universities." Design 03, no. 02 (2018): 53–57. http://dx.doi.org/10.12677/design.2018.32009.

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10

Pascoe, Robin, Judith Dinham, Neil C. M. Brown, Kath Grushka, Judith MacCallum, and Peter Wright. "Visual Education - Repositioning Visual Arts and Design." International Journal of Learning: Annual Review 12, no. 6 (2007): 77–86. http://dx.doi.org/10.18848/1447-9494/cgp/v14i06/45375.

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11

徐, 一茗. "Exploration of Visual Process Design of the Printing Books’ Layout Design under the Context of Shallow Reading." Design 02, no. 04 (2017): 23–28. http://dx.doi.org/10.12677/design.2017.24004.

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12

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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13

Hartono, Edward, and Clyde W. Holsapple. "Website Visual Design Qualities." ACM Transactions on Management Information Systems 10, no. 1 (May 16, 2019): 1–21. http://dx.doi.org/10.1145/3309708.

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14

McKeown, Céline. "Visual Thinking: For Design." Ergonomics 53, no. 1 (January 2010): 138–39. http://dx.doi.org/10.1080/00140130903458285.

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15

BENTON, C. "Visual Resources for Design." Journal of Design History 9, no. 1 (January 1, 1996): 70–71. http://dx.doi.org/10.1093/jdh/9.1.70.

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16

Rogriguez, Manuel Caeiro, Michael Derntl, and Luca Botturi. "Visual instructional design languages." Journal of Visual Languages & Computing 21, no. 6 (December 2010): 311–12. http://dx.doi.org/10.1016/j.jvlc.2010.08.005.

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17

Marchak, Frank M. "Visual interactive instructional design." ACM SIGCHI Bulletin - a supplement to interactions 2001 (October 2001): 10. http://dx.doi.org/10.1145/970492.970508.

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18

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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19

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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20

Friedman, Asaf. "The Role of Visual Design in Game Design." Games and Culture 10, no. 3 (May 2015): 291–305. http://dx.doi.org/10.1177/1555412014559977.

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21

Li, Suo. "Design Analysis of Visual Illusion Application in Visual Communication." Applied Mechanics and Materials 687-691 (November 2014): 3718–22. http://dx.doi.org/10.4028/www.scientific.net/amm.687-691.3718.

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Visual illusion is a universal phenomenon that deviates from people’s conventional perception experience. Applying this phenomenon into design can exploit vast form innovation in visual field. This paper takes advantage of visual illusion to widen designer’s design thought. Especially, the special visual effects it generates can intensively simulate human vision and induce psychological association. Visual illusion embodies a sort of meaningful form as well as declares the various manifestation patterns of visual design itself.

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22

Linke, Paula Piva, Gabriel Calvi, and Natani Aparecida do Bem. "Linguagem visual: design e estilo." Projetica 11, no. 1supl (June 1, 2020): 32. http://dx.doi.org/10.5433/2236-2207.2020v11n1suplp32.

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Ao reconhecermos a moda enquanto um fenômeno de comunicação, devemos levar em consideração que o mesmo pode também construir identidades visuais. O artigo objetiva apresentar a moda como linguagem, assim como a construção do estilo e o seu simbolismo, explorando especificamente os estilos retrô, vintage e minimalista. Para isso, utilizou-se como metodologia a pesquisa bibliográfica, com o intuito de compreender a moda enquanto linguagem visual atrelada aos diversos estilos.

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23

Ohta, Ken'ichi, Tatsuhiko Akamatsu, Tomihisa Ishii, and Akira Nakata. "Visual Feature of Textile Design." Journal of the Textile Machinery Society of Japan 40, no. 3 (1994): 85–90. http://dx.doi.org/10.4188/jte1955.40.85.

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24

Pestrikova, Anastasia, and Lyubov Shilova. "Visual design of heating systems." Энергетическая политика, no. 6 (2022): 78–87. http://dx.doi.org/10.46920/2409-5516_2022_6172_78.

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25

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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26

Sakinah, Sakinah, Dita Kurnia Sari Sembiring, and Suhairi Suhairi. "Effective Design and Visual Aids." Mimbar Kampus: Jurnal Pendidikan dan Agama Islam 20, no. 2 (August 3, 2021): 125–36. http://dx.doi.org/10.47467/mk.v20i2.434.

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The actualization of visual communication can’t be separated from bussines and aesthetic design. The sense is important role in creation. If it doesn’t, it will be treatise tragedy. The product of visual communication can’t be separated from media, as a mediation place among product, services, even self actualization with social community who became target. The presence of sense on every element in the design will frame the concept of design. Research methods uses a qualitative approach with emphasis on observation and documentation. The analize data uses case study. Creating with sense is appreciation problems, because every action of human involve all five senses. The appreciation through the imagination manifested visually may experience stylized, distortion, and adaptation. But interestingly, designer is able to capture the essence, so the sense be more involved in the creation process. The sense of design is the result of the appreciation that includes creative activity. The creative, expression, perception, character, productive, inventive, innovation, inspiration, and emergentif aspects that present in the overall design concept focused on achieving aesthetic value. The design of visual communications show the sense of the process until the final design. The sense of design is present in every element of the design such as illustration, typography, color, and layout.

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27

Chiang, Wen-Chyuan. "Visual facility layout design system." International Journal of Production Research 39, no. 9 (January 2001): 1811–36. http://dx.doi.org/10.1080/00207540110035192.

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28

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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29

Singh, Gurminder. "Vu: visual user-interface design." Visual Computer 6, no. 4 (July 1990): 230–41. http://dx.doi.org/10.1007/bf02341048.

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30

Singh, Gurminder, and Mark Green. "Visual user interface design tools." Visual Computer 8, no. 2 (March 1992): 71–74. http://dx.doi.org/10.1007/bf01900549.

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31

Wang, Lin, Sophia Ainslie, Hui Chen, and Zhenyi Su. "Confocal Images and Visual Design." مجلة التصميم الدولية 6, no. 1 (January 2016): 25–32. http://dx.doi.org/10.12816/0036424.

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32

Pettersson, Rune. "Visual Literacy in Message Design." Journal of Visual Literacy 27, no. 1 (January 2007): 61–90. http://dx.doi.org/10.1080/23796529.2007.11674646.

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33

Williams, Evelyn, and Evelyn Hewlett-Packard. "Panel on Visual Interface Design." Proceedings of the Human Factors Society Annual Meeting 33, no. 5 (October 1989): 323–24. http://dx.doi.org/10.1177/154193128903300519.

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User interface design has many components. Usable computer interfaces should be easy to learn, result in high user productivity and high user satisfaction. There are a number of components in user interface design that affect the usability of the interface. Within the human factors community we tend to emphasize the ergonomic and cognitive components of the computer interface. There is another component that is frequently ignored, the visual interface design. This panel will present information on the visual component in various user-computer interfaces and will discuss the contributions of the visual designer to the interfaces and usability.

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34

Nakauchi, Shigeki. "Universal design for visual communications." Color Research & Application 32, no. 3 (2007): 240–41. http://dx.doi.org/10.1002/col.20315.

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35

Kim, Jong Sung. "A Study on V.M.D(Visual Merchandising Design) Environment of Mobile Telecommunication Company Store." Journal of the Korea Academia-Industrial cooperation Society 14, no. 4 (April 30, 2013): 1589–94. http://dx.doi.org/10.5762/kais.2013.14.4.1589.

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36

Stanojevic, Marko. "Visual Soliloquy." Cubic Journal, no. 1 (April 2018): 136–51. http://dx.doi.org/10.31182/cubic.2018.1.008.

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Visual Soliloquy contributes to the discussion of how graphic and information design contributes to social through design. In linking the work to notions as self-branding, micro celebrities and self-branding in defining social value for individuals. The use of the soliloquy concept is aligned with both the anti-social undertaking and social endeavor of design as praxis within the field of communication design. As evidence, the concept is supported through examples of design work and their material explorations.

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37

Zhang, Fang. "Research on the Internet Plus Visual Communication Design -- the Application of Visual Design in Internet." Journal of Physics: Conference Series 1915, no. 4 (May 1, 2021): 042039. http://dx.doi.org/10.1088/1742-6596/1915/4/042039.

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38

Tao, Jie. "Visual Fatigue Phenomenon in Visual Communication Design Integrating Artificial Intelligence." Mobile Information Systems 2022 (June 14, 2022): 1–11. http://dx.doi.org/10.1155/2022/3706373.

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In the process of cognition, people focus on self-feeling and realize the cognition of the world by judging the information conveyed by vision. Design changes lives, and our lives are always surrounded by design. This research mainly discusses the phenomenon of visual fatigue in visual communication design integrated with artificial intelligence. The article first analyzes the characteristics of optical illusion art. Taking typical works as an example, it expounds the application of optical illusion in modern design and the influence of optical illusion on design works. At the same time, it combines the basic principles of optical illusions to find out the elements and types of optical illusions, as well as various optical illusions that exist in life. This research uses artificial intelligence technology to efficiently create visual design, providing a basic space for higher quality design output. The proportion of subjects who could find the location of the inserted content was 66.7%. This study helps to better emphasize the visual design effect and link visual fatigue. The article starts from three aspects: web page, mobile phone, and traditional media. It analyzes the phenomenon of visual fatigue in modern visual communication design. While giving solutions, it also puts forward the dialectical concept of the balance between visual comfort and design.

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39

Zhao, Ziwei. "Innovation Strategy of Visual Thinking Mode in Visual Communication Design." Arts Studies and Criticism 3, no. 2 (June 27, 2022): 121. http://dx.doi.org/10.32629/asc.v3i2.837.

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The purpose of this paper is to explore the innovative strategy of visual thinking mode in visual communication design, so as to meet the aesthetic needs of modern people and improve the innovative quality of visual thinking mode in visual communication design. Taking literature research as the theoretical basis, through the analysis of this paper, we can see that we should start from several aspects such as cultivating designers' divergent thinking, cultivating designers' reverse thinking, cultivating designers' associative thinking, and designers' establishing advanced design concepts. This helps to increase the level of innovation of visual communication designers.

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40

Li, Suo. "Design and Analysis of Visual Illusion Application in Visual Communication." Applied Mechanics and Materials 651-653 (September 2014): 1306–10. http://dx.doi.org/10.4028/www.scientific.net/amm.651-653.1306.

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Visual illusion is a universal phenomenon that deviates from people’s conventional perception experience. Applying this phenomenon into design can exploit vast form innovation in visual field. This paper takes advantage of visual illusion to widen designer’s design thought. Especially, the special visual effects it generates can intensively simulate human vision and induce psychological association. Visual illusion embodies a sort of meaningful form as well as declares the various manifestation patterns of visual design itself.

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41

Cardoso, Jairo Barrera, and Ruberval Franco Maciel. "LETRAMENTO VISUAL: GRAMÁTICA DO DESIGN VISUAL E CONSTRUÇÃO DE SENTIDO." Revista de Estudos Acadêmicos de Letras 12, no. 01 (July 30, 2019): 224–39. http://dx.doi.org/10.30681/23588403v12i01224239.

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42

Xin, Tao, and Han You Ye. "The Application of Visual Illusion in the Visual Communication Design." IOP Conference Series: Materials Science and Engineering 317 (March 2018): 012050. http://dx.doi.org/10.1088/1757-899x/317/1/012050.

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43

Bianchi, N., P. Bottoni, P. Mussio, and M. Protti. "Cooperative Visual Environments for the Design of Effective Visual Systems." Journal of Visual Languages & Computing 4, no. 4 (December 1993): 357–81. http://dx.doi.org/10.1006/jvlc.1993.1021.

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44

Wang, Yue, and Won-jun Chung. "Font Design in Visual Communication Design of Genetic Algorithm." Emergency Medicine International 2022 (June 7, 2022): 1–10. http://dx.doi.org/10.1155/2022/6897115.

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The text has played an essential role in the advancement of human civilization. It is used now as a valuable cultural heritage that has been experienced for a thousand years. The passing text must have its irreplaceable advantages and charm. People are extremely sensitive to visual symbols, and it is also the first step in which people can know things. Most of the books in today’s market focus on pictures and colors, which ignores the design of the text. This makes the text boring taste, causing the reader’s visual fatigue, which is not conducive to readers absorbing information through books. Therefore, this paper studies the font design in the design of the visual algorithm based on the genetic algorithm, and the font design is analyzed by the particle swarming algorithm, the decision MIMO-SCMA system of the genetic algorithm. It aims to address the dryness of today’s texts by constructing texts that are instantly recognizable and visually appealing to readers. Through innovative visual concepts, readers can enjoy the process of acquiring knowledge. In this paper, to investigate the effectiveness of the genetic algorithm in font design, the number of experimental research subjects was set to 300, and 280 valid questionnaires were collected to investigate the satisfaction of users with the newly designed fonts. Experiments showed that the visual communication design based on a genetic algorithm has increased by 6.52% for the design satisfaction and the number of fonts that use the system is also increasing.

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45

Hao, Ya Wei. "Expression Methods of Visual Communication Design in Multimedia Design." Advanced Materials Research 811 (September 2013): 293–96. http://dx.doi.org/10.4028/www.scientific.net/amr.811.293.

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Because of the combination of different kinds of art and technology, multimedia design, compared with traditional media creation, has more rich and complex expression methods. Multimedia owns the overlap between time and space in deep virtual space, providing creative platform and various thinking angle for designers. Multimedia design includes a wide range of expression ways. Its dynamic quality, flexibility, vitality and narrative feature improve its value further. This paper analyzes the expression and reasonable application of visual elements in the media design process for showing the expression function of visual pictures, composition and color.

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46

Wang, Jian Hui, and Li Liu. "Research on Computer Graphics Design and Visual Communication Design." Applied Mechanics and Materials 713-715 (January 2015): 2191–94. http://dx.doi.org/10.4028/www.scientific.net/amm.713-715.2191.

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In today's society rapid development of science and technology, the computer figure image design can be widely used in various industries. In the film and television, advertising, exhibition, art, electronic play in areas such as lack of necessary computer graphics design. With the development of computer information technology, the design of the graphics technology will progress. On the technology no longer content with a simple graphics rendering, more note focus on visual sense of the data, enhance the figure shape the image of beauty and expression. This paper mainly discusses the computer graphics design and visual communication design in today's society rapid development of science and technology, computer graphics design has also been extensively applied to various industries. In the film and television, advertising, exhibition, art, video games, and other fields are short of necessary computer graphics design. With the development of information technology, computing machine graphics design technology progress. Current technology is no longer satisfied with the image of a simple now, pay more attention to the visual sensation of biography and enhance the figure shape the image of aesthetic feeling and expression. This paper mainly discusses the computer graphics design and research of visual communication design.

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47

McAuley, Mike, and Caelli Brooker. "Novice Visual Communication Design Students’ Awareness of Design Process." International Journal of Design Education 11, no. 1 (2016): 1–10. http://dx.doi.org/10.18848/2325-1581/cgp/v11i01/1-10.

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48

Kimball, Miles A. "Visual Design Principles: An Empirical Study of Design Lore." Journal of Technical Writing and Communication 43, no. 1 (January 2013): 3–41. http://dx.doi.org/10.2190/tw.43.1.b.

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49

Perna, Stefano. "Design ResearchScape. A visual exploration of Design Research publications." Design Journal 20, sup1 (July 28, 2017): S952—S963. http://dx.doi.org/10.1080/14606925.2017.1353040.

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50

Park, Soyoung. "A Study on Visual Scaffolding Design Principles in Web-Based Learning Environments." Electronic Journal of e-Learning 20, no. 2 (February 14, 2022): pp180–200. http://dx.doi.org/10.34190/ejel.20.2.2604.

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Visual scaffolding, a type of scaffolding provided in a visual format, is considered to have potential in web-based learning environments as it naturally includes tacit information, highlights the critical features of tasks and promotes learning through the spatial organization of tasks. However, systematic approaches to visual scaffolding design principles are rare. This study aims to develop visual scaffolding design principles and guidelines in a web-based learning environment through a literature review. The specific visual scaffolding design principles regarding objects are 1) the spatial organization of information, 2) coaching, modelling, and mentoring, 3) explication of the task structure, 4) explication of the process, 5) explication of the cognitive process, 6) explication of understanding, 7) metacognitive prompts. In terms of visuals, the principles drawn are 8) ensuring visibility, coupling, and usability, 9) the use of appropriate visuals, 10) proximity and simplicity of the display, 11) spatial organization of the toolset. The principles regarding the learners are 12) consideration of different learners, and 13) manipulation of support and use. The limitations and future research directions are discussed.

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