Introduction. What Is Graphic Design? What Do Graphic Designers Do? I Want to Be a Graphic Designer-Where Do I Begin? The Design Process. Why Bother with Such a Long Process When I Just Like to Make Things? Why Should I Do These Assignments? Section 1: The Elements and Principles of Design. Star Symbol/Susan Merritt, San Diego State University, San Diego. Object Semantics/Kermit Bailey, North Carolina State University, Raleigh. Symbol Design/Lisa Fontaine, Iowa State University, Ames. Lettermark/Susan Merritt, San Diego State University, San Diego. Vinyletteror/Kenneth Fitzgerald, Old Dominion University, Norfolk. Letterform as Shape/Jan Conradi, State University of New York at Fredonia. Concert Poster/Arnold Holland, California State University, Fullerton. Design History Chair/Hank Richardson, Portfolio Center, Atlanta. Section 2: T ypography as Image. Shaping Words/Richard Ybarra, Art Institute of California, San Diego. Newspaper Stories-A Typographic Workshop/Jurgen Hefele, Fachh.
See Full PDF See Full PDFa short summary of a paper put in the beginning, below the author lines and above the body text. Achromatic colours are black and white. Active space or positive space in a visual is the part representing different objects. Space has no meaning in itself, but it may be used to separate or bring together different picture elements. Agate lines are vertical measurement of space, there are fourteen agate lines to an inch. Artistic layout may please the individual artistic graphic designer, but may have no relation to the content of the message. Ascender. The part of a lower case letter (b, d, f, h, k, l) that ascend above its x-height. These letters may be taller than the cap height. Author lines are the lines at the beginning of a paper with the name of the author or the authors. It is often centred and set in smaller type than the heading.
Download Free PDF View PDF
Download Free PDF View PDF
She-Ji, the Journal of Design, Economics and Innovation
In 1988, I published an article on the criteria for quality in communication design. This article revisits the issues I raised: performance, rather than style, should be the determining factor in assessing quality. Today, 34 years later, I shift my focus to the current drive for simplification, to ask how this affects design processes by ignoring the complexity that characterizes human interactions with communications. Methods conceived as mechanical recipes and the promotion of quick working strategies reduce the fitness of methods and processes as the way to confront complex commercial, cultural, and social problems. The discussion touches on design practice and design education. It includes examples of design projects to support aspects of the argument. Designers should become more responsible agents, professionally, socially, and environmentally. This requires an optimal use of research-based decisions in design. The end of the article is an invitation for reflection and action.
Download Free PDF View PDF
Mass Communication Graphics
Download Free PDF View PDF
Download Free PDF View PDF
Brazilian Journal of Science
Download Free PDF View PDF
International Journal of Linguistics, Culture and Communication
This paper discusses culture and communication, which are essential in designing visual communication design works (visual communication design). A student and professional designer with a good understanding of culture and communication can create appropriate and effective designs for the target audience. Designers need to study the target audience's values, norms, language, and beliefs. This is conducted to ensure that the designs are acceptable to the target audience in achieving the desired goals. Designers also need to consider visual elements such as colors, typography, symbols, and images that are appropriate to the target audience's culture. The designer must have a right and measurable design concept to accommodate cultural values and norms that are adapted to the placement conditions and the target market of the users of the visual communication design product. In the test and evaluation stage, the designer must test the design on an audience that fits the consumer culture. After that, the designer needs to evaluate the audience's response to the visual communication design product that is produced, including the effectiveness and readability of the message conveyed through the design communication. In conclusion, understanding culture and communication is crucial in designing visual communication designs. Designers who consider these factors can create appropriate and effective designs and solve design problems.
Download Free PDF View PDF
In an age of globalization and connectivity, the idea of "mainstream culture" has become quaint. Websites, magazines, books, and television have all honed in on ever-diversifying subcultures, hoping to carve out niche audiences that grow savvier and more narrowly sliced by the day. Consequently,the discipline of graphic design has undergone a sea change. Where visual communication was once informed by a designer's creative intuition, the proliferation of specialized audiences now calls for more research-based design processes. Designers who ignore research run the risk of becoming mere tools for communication rather than bold voices. Design Studies, a collection of 27 essays from an international cast of top design researchers, sets out to mend this schism between research and practice. The texts presented here make a strong argument for performing rigorous experimentation and analysis. Each author outlines methods in which research has aided their designwhether by investigating how senior citizensreact to design aesthetics, how hip hop culture can influence design, or how design for Third World nations is affected by cultural differences. Contributors also outline inspired ways in which design educators can teach research methods to their students. Finally, Design Studies is rounded out by five annotated bibliographies to further aid designers in their research. This comprehensive reader is the definitive reference for this new direction in graphic design, and an essential resource for both students and practitioners.
Download Free PDF View PDF
Graphicdesignhasgrownasaprojectactivity.Characterizedasagatheringofknowledge fromseveralfields,andwithoutanindisputabledefinition,itdependsonitstechnical resourcefulnesstosolveproblemswhoseoriginismainly visual. This text wishes to demonstrate that graphic design is an integral part of visual communicationand,assuch,shouldassigngreaterimportancetothereceptor–itsmainfigureregardingamaterialfulfilment. Throughacriticalreviewofitsmainliterature,itisintendedtoshowthatthisactivityhasestablishedmethodsandprocessesthatseemtodistanceitfromitsrelationshipwiththereceiver.Graphicdesignhasbeenovervaluatingthesender,whetherasclientorasadesigner.Therelevancegiventothemessageissuingsubjectandtothestyleinwhichitissetisnotnew,anditsoriginisfoundinmomentswheretheactivitywasestablished–withsuchmomentsbeingconsideredasexemplary.
Download Free PDF View PDF
