Graphic Design and Ethnography: The Use of Folk Art to Create a Visual Identity

2021 ◽  
pp. 831-837
Author(s):  
Elisabete Rolo
Keyword(s):  
Graphic Design ◽  
Folk Art ◽  
Visual Identity

A comparative Study of Chinese Traditional Folk Paper-cut Art Desigh and Modern Graphic Design Based on Visual Communication

2021 ◽  
Vol 7 (5) ◽  
pp. 1028-1035
Author(s):  
Jiaxia Cheng
Keyword(s):  
Graphic Design ◽  
Visual Communication ◽  
Folk Art ◽  
Visual Communication Design ◽  
Design Concepts ◽  
Chinese Nation ◽  
The Rich ◽  
The Times ◽  
The Aesthetic ◽  
National Style

Paper-cut, as a traditional folk art, has become a treasure of Chinese folk art in its long history of development. Paper-cut gives people artistic enjoyment visually with its unique creative techniques, full composition and vivid and interesting patterns. Methods: Traditional folk paper-cut art records the folk customs of the Chinese nation and embodies the temperament and national style of the Chinese nation. Its unique way of thinking and expression provide unique creative ideas and rich visual art resources for modern graphic design. Chinese folk paper-cut is an organic combination of decoration and practicality. Results: It can not only show the rich and colorful folk life, but also meet the aesthetic needs of a variety of situations. How to combine rich traditional culture and art with graphic design concepts and the spirit of the times to design works with national style, so as to better integrate folk paper-cut art with graphic design, is the pursuit of graphic designers. Conclusion: Based on visual communication design, this paper discusses the comparison and integration between traditional Chinese folk paper-cut art design and modern graphic design.

Rhetorical Resources for Innovation in Communication Through the Design of Brand Marks of Corporate Identity

2020 ◽  
pp. 145-153
Author(s):  
Leire Fernández Iñurritegui ◽  
Eduardo Herrera Fernández
Keyword(s):  
Graphic Design ◽  
Visual Rhetoric ◽  
Communication Strategies ◽  
Effective Communication ◽  
Corporate Identity ◽  
Discursive Construction ◽  
Visual Identity ◽  
Brand Marks ◽  
The Creation ◽  
Linguistic Basis

Without a doubt, visual rhetoric constitutes a fundamental paradigm for recognizing resources that can guarantee an innovative and more effective communication in our essentially competitive corporate communicative environment. In this chapter, the authors reflect on graphic design from a linguistic basis to a particular approach to rhetorical principles. This is presented as a paradigm of an innovative creative model in the discursive construction of brands marks of corporate visual identity. In short, this chapter formulates a proposal of rhetorical variants in which graphic designers can find graphic resources and communication strategies that are essential for the creation of innovative messages.

Logos' textual and visual content

2019 ◽  
Vol 1 (1) ◽  
Author(s):  
Franck CELHAY
Keyword(s):  
Graphic Design ◽  
Brand Image ◽  
Annual Reports ◽  
Smartphone Applications ◽  
Visual Content ◽  
Logo Design ◽  
Visual Identity ◽  
Brand Perception ◽  
Textual Content ◽  
Semiotic Theory

The logo is a key part of a brand’s visual identity. Logos appear on letterhead, business cards, annual reports, package and product designs, print and TV advertisements, websites and smartphone applications. As a result, logos have become an important way to capture awareness and build brand image. This study investigates how logo design impacts brand perception. More specifically, we explore how a logo’s textual content interacts with its graphic design to deliver a specific message. Semiotic theory provides the framework to study this question. Two logos with the same textual content but different designs are analyzed, first through a semiotic study and then with an experiment involving 903 survey respondents. The results confirm that the textual content of the logos interacts with the visual aspect in what we have termed the double anchorage effect.

Cause, effect and benefits of a standardised corporate visual identity system of UK companies operating in Malaysia

2001 ◽  
Vol 35 (3/4) ◽  
pp. 414-427 ◽  
Author(s):  
T.C. Melewar ◽  
John Saunders ◽  
John M.T. Balmer
Keyword(s):  
Multinational Corporations ◽  
Graphic Design ◽  
Corporate Environment ◽  
Global Identity ◽  
Global Restructuring ◽  
The Past ◽  
Visual Identity ◽  
The Uk ◽  
House Design ◽  
Identity System

Investigates the degree of global standardisation of a corporate visual identity system (CVIS) in multinational operations. A special emphasis of this research is accorded to UK companies operating in Malaysia. In particular, the study seeks to reveal the reasons for developing a standardised CVIS; the behavioural issues associated with CVIS; and the determination in selecting a graphic design agency. The findings of the research revealed that multinational corporations in an increasingly corporate environment adopted a standardised CVIS for several reasons, including, aiding the sale of products and services, creating an attractive environment for hiring employees, and increasing the company’s stature and presence. Further findings show that the interest in global identity was stimulated by global restructuring, merger or acquisition. The above trends help explain why increased focus has been accorded to CVIS over the past five years by many UK companies operating in Malaysia. Additional findings reveal that both the UK design agencies and in‐house design department are used in the development of the firms’ CVIS.

scholarly journals Kedinamisan dalam Kearifan Lokal: Perancangan Identitas Visual Galeri Sulam Pinjaik Patah

2021 ◽  
Vol 7 (2) ◽  
pp. 224-239
Author(s):  
Erni Masdupi ◽  
Tri Kurniawati ◽  
Halkadri Fitra ◽  
Dini Faisal
Keyword(s):  
Research And Development ◽  
Graphic Design ◽  
Brand Awareness ◽  
Design Solution ◽  
Visual Identity ◽  
West Sumatra ◽  
Final Design ◽  
Flexible Applications

AbstrakGaleri Sulam Pinjaik Patah sebagai usaha kolektif warga Nagari Panampuang memiliki potensi menjadi salah satu ikon produk sulam di Sumatra Barat. Namun, dari sisi desain grafisnya belum memiliki solusi desain yang baik. Logo yang dimiliki belum dapat memperkenalkan karakter, kepribadian, dan ciri khas Sulam Pinjaik Patah. Identitas visual merupakan jawaban bagi permasalahan Galeri Sulam Pinjaik Patah karena penggunaan identitas visual yang sistematis, terstruktur dan konsisten akan mampu membangun brand awareness. Identitas visual dirancang dengan menggunakan metode research and development (R&D) yang terdiri dari tahapan mengenali potensi dan masalah, merancang desain produk, validasi dan uji coba. Hasil rancangan identitas visual memiliki elemen yang dinamis, aplikasi yang fleksibel sehingga memberi ruang bagi entitas untuk mengembangkan elemen dari identitas visual. Kata kunci: galeri sulam, identitas visual, kearifan lokal, pinjaik patah AbstractGaleri Sulam Pinjaik Patah has the potential of becoming one of the icons of embroidery products in West Sumatra. However, the gallery does not have a better graphic design solution. Its current logo does not introduce the character, personality, and characteristics of the origin of the name Pinjaik Patah embroidery. The problem is gallery needs more recognition to create brand awareness. It demands a systematic and consistent use of visual identity, not just a logo. The research and development (R&D) method is used to design the visual identity. The stages are identifying potentials and problems, designing product designs, validating, and testing. The final design of Galeri Sulam Pinjaik Patah’s visual identity has dynamic elements and flexible applications that allowed the gallery to improve and develop its visual identity. Keywords: embroidery gallery, local wisdom, pinjaik patah, visual identity

scholarly journals El diseño gráfico como herramienta para la representación de la identidad visual y la interacción en el aula = Graphic design as a tool for the representation of visual identity and interaction in the classroom

2018 ◽  
pp. 41
Author(s):  
Mª Begoña Yáñez Martínez
Keyword(s):  
Virtual Environment ◽  
Graphic Design ◽  
Practical Knowledge ◽  
Point Of View ◽  
Innovative Strategies ◽  
Visual Identity ◽  
The Creation

ResumenEste artículo está basado en una experiencia real, didáctica y significativa,realizada en un entrono virtual, en la que trabajamos el diseño gráfico aplicado a la creación de identidades visuales desde el punto de vista de la representación de personas en lugar de empresas o entidades. Gracias a esta actividad hemos podido aplicar diferentes estrategias innovadoras, como la gamificación, para el correcto desarrollo de una tarea que incluye la adquisición de conocimiento teórico-práctico, la reflexión sobre la identidad visual, la interacción entre los distintos miembros de la experiencia (estudiantes y docente) y la motivación del entretenimiento.Para una mejor comprensión, de la experiencia y la actividad, conoceremos las necesidades de las que surge la elaboración de la propuesta didáctica, el desarrollo de la misma, los principales fundamentos teórico-visuales en los que se apoya el aprendizaje y la valoración de la experiencia desde el punto de vista del docentey desde los estudiantes (participantes de la experiencia).AbstractThis article is based on a real and significant didactic experience, realizedin a virtual environment, in which we work the graphic design applied to the creation of visual identities from the point of view of the representation of people instead of companies or entities. Thanks to this work we have been able to apply different innovative strategies, such as gamification, for the correct development of a task that includes the acquisition of theoretical-practical knowledge, reflection on visual identity, interaction between the different members of the experience (students and teacher) and the motivation of entertainment. For a better understanding of the experience and the task, we will know the needs of which the elaboration of the didactic proposal arises, his development, the main theoretical-visual foundations in which the learning is supported and the valuation of the experience from the point of view of the teacher and from the students (participants of the experience).

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