Design & cinema: A timeline of graphic design in film

2021 ◽  
Author(s):  
Helena Tude
Keyword(s):  
Graphic Design ◽  
Film Industry ◽  
Visual Channel ◽  
Design Elements ◽  
Hybrid Language ◽  
Graphic Language ◽  
The Creation ◽  
Contemporary Cinema ◽  
Impact Of Technology

Graphic design elements have always been part of cinema’s hybrid language, as a material of expression manifested through the visual channel, together with the filmed image. The graphic language is present throughout an entire filmic narrative, from the choice of verbal, pictorial and schematic elements in titles and animations, to the creation (and curation) of printed or handmade graphic props, signage and logos filmed by the camera. Together, they form a movie’s graphic identity, which aids in conveying meaning to the narrative as well as bringing a dynamic and authentic storytelling. This paper intends to present a timeline of graphic design in film by pointing out the technological milestones that shaped cinema’s development, directly influencing the emergence and disappearance of graphic configurations – which became more complex with time and affected the roles designers acquired in the film industry. By focusing mainly on examples from Hollywood’s contemporary cinema, the paper aims to show how the graphic language in films developed as an impact of technology reflected in society, which also leads to the identification of the three main functions acquired by the graphic language in narrative films nowadays.

COMMON MISTAKES OF NOVICE GRAPHIC DESIGNERS

2020 ◽  
Author(s):  
E.V. Burlov ◽  
◽  
R.E. Filenko ◽  
Keyword(s):  
Graphic Design ◽  
Graphic Language ◽  
The Creation ◽  
Novice Designers ◽  
Graphic Images ◽  
Design Objects

The article describes the mistakes most often encountered among novice designers. The lack of competence in the field of graphic design among specialists in various fields gives rise to the creation of graphic images (within the framework of professional tasks) abound in verbal rather than graphic language. As a result, graphic design objects abound in business speech cliche, which gives rise to bad patterns for use as a methodological base in preparing students.

GRAPHIC DESIGN SOLUTIONS APPLIED ON CHILDREN'S ROOM SURFACES IN INTERIOR DESIGN

2021 ◽  
Vol 8 (3) ◽  
pp. 60-73
Author(s):  
Hülya YAVUZ ÖDEN
Keyword(s):  
Interior Design ◽  
Graphic Design ◽  
Design Elements ◽  
Space Design ◽  
Internet Resources ◽  
The Creation ◽  
The Difference ◽  
Graphic Elements ◽  
Children's Identity ◽  
Design For Children

Design elements such as typography, illustration, and photography used in graphic design can also be used indoors on surfaces and reinforcement elements. Original designs support the creation of the identity of the place. It is of great importance to use visual arts in the space. One of the areas of design that greatly affects people in the illustration. Whatever the content of the illustration, it can include different visual styles that can be expressed artistically. The art of illustration can express difficult concepts quickly. For this reason, illustrations are used in different techniques. Thus, it can be used to create unique designs that can reveal the difference of the brand. The uniqueness of the illustration used in the interior design is also effective in the formation of space's own identity. Illustrations that are uniquely designed based on the user's wishes should be used. Instead of fashionable design trends, the application of the appropriate forms to the concept of the space ensures the creation of the original space. The research aims to examine the use of graphic elements used in interior design, which is one of the factors that affect the formation of children's identity, on space surfaces. Qualitative methods were used as a method, and a literature review was made on graphic design and space design for children. The analyzed examples are limited to the use of typography and illustration on the walls and reinforcement element surfaces in the interior design of the children's room. The application images in the personal archive were used. Besides, internet resources were searched and the samples of the children's room were examined.

ANALISIS VISUAL PADA SAMPUL DEPAN MAJALAH DESAIN GRAFIS “CONCEPT” EDISI ULTAH PERDANA (Sebuah Kajian Semiotika)

DeKaVe ◽  
2013 ◽  
Vol 1 (2) ◽  
Author(s):  
Prayanto WH
Keyword(s):  
Graphic Design ◽  
Roland Barthes ◽  
Specific Design ◽  
Design Work ◽  
Design Elements ◽  
Semiotic Approach ◽  
Short Time ◽  
Content Information ◽  
Magazine Cover

Magazine is one of the forms of mass media that has fungsikomunikasi to convey information to mass audiences. The cover is an important element because it is through cover / cover one can guess the contents of the magazine, as well as further interested to know further information contained therein. On a magazine cover consists of drawings and writings are arranged in such a way that looks interesting and has meaning Press publications, especially magazines, today's not enough just to rely on the quality of news or manuscript, although verbal aspect is very important. It must be recognized that the visual aspects (design) as the cover / envelope has crucial role to capture the prospective reader. For the cover of a magazine is a window that shows the content information, can be either a text or photographs, illustrations, and design elements. The function of a magazine cover is to attract, dazzle prospective readers, by way influence the thoughts flow in a short time. So it's no wonder much current the magazine publisher who made the cover of such a way as to attract the attention of prospective readers. Thus the task of designers to magazine cover to create designs that attract the attention of the reader becomes increasingly severe. This study tries to analyze a visual on the front cover Magazine Graphic Design 'Concept' birthday inaugural edition by using the Roland Barthes' semiotic approach. As Roland Barthes (1984), any simple "design work (magazine cover)" continue to play in management of the sign. So that will generate a message (image) specific. Design cover, usually contains the elements of the sign in the form of objects, context of the environment, people or other beings who provide meaning to objects, and text (of writing) that reinforce the meaning.Keyword: cover, magazine Concept, semiotics

Design thinking in printing graphic design approaches for animation films

2021 ◽  
Vol 26 ◽  
pp. 709-728
Keyword(s):  
Key Words ◽  
Design Process ◽  
Graphic Design ◽  
Scientific Theory ◽  
Design Thinking ◽  
Film Industry ◽  
Optical Illusion ◽  
Design Work ◽  
Aesthetic Awareness

Art of animation as an analysis of movement is based on the theory that the vision remains on the eye after the disappearance of the actual image, and this scientific theory is the same that the film industry was built upon. Recently, various techniques and ideas have entered the print design process as a means of expressing a phenomenon subject to the human will to change and elevate our aesthetic awareness and feelings, which rise in various forms of designs that reveal themselves in design work and are embodied in animation films. The design artwork falls within a group of intertwined elements fused with each other, reflecting the peculiarity of this work, as it is innovation and creating new and interesting things, so that the design is suitable for the desired purpose and beautifully. Perhaps the simplest type of optical illusion that can clarify to us the idea of the impression of the existence of an image that does not actually exist is represented in the decree paper. Key words: Design thinking, Typography, Animation films

EFFECTS OF ENVIRONMENTAL GRAPHIC DESIGN ISSUES AS A SUPPORTIVE SOURCE OF HOSPITAL SPATIAL PERCEPTION

2020 ◽  
Vol 0 (21) ◽  
pp. 0-0
Author(s):  
Fatoş ÇAKICIOĞLU İLHAN ◽  
Meryem YALÇIN
Keyword(s):  
Graphic Design ◽  
Spatial Perception ◽  
Psychological Needs ◽  
User Perception ◽  
Healthcare Staff ◽  
Design Elements ◽  
The Social ◽  
User Groups ◽  
Industrial Designers ◽  
Psychology Of Place

Aim: Increased awareness of creating design solutions that can meet the social and psychological needs of patients in healthcare spaces highlights research on the psychology of place-patient/ doctors/healthcare staff. Therefore, patient-oriented health space designs that provide a sense of trust and satisfaction to patients – along with a supportive approach to their treatment – are the points of departure in this study, while understanding the effects and experiences of design on patients. Environmental graphic design elements (photographs, illustrations, typography, and pictograms) in the interiors of hospitals emerge as the factors that shape the patient's spatial experience, such as orientation, information, and perception of a space. In this study, the effects of such design elements on user perception in health spaces were investigated, and these design criteria that play a role in determining and actively interacting with the environmental graphic design elements in hospital spaces are encountered. Based on the abovementioned facts, this research aims to contribute to the graphics in health spaces in the context of environmental graphic design, with experience covering both fields. Method: Three hospitals, which are sufficient in terms of environmental graphic design elements and have differences between them, were determined as the research places. The elements in these hospitals were photographed and surveyed on user groups (patients, doctors, health personnel) who experienced the places continuously or temporarily. Results and Conclusion: It was demonstrated by statistical data that the elements in the investigated places could not provide the expected effects as a whole. As a result, environmental graphic design applications that have a supportive design understanding in hospital spaces should have a holistic language, and that design understanding can only be demonstrated with the cooperation of architects, interior designers, graphic designers, and industrial designers.

scholarly journals Gaudii: An Automated Graphic Design Expert System

2021 ◽  
Vol 24 (2) ◽  
pp. 1775-1780
Author(s):  
Carlos Glez-Morcillo ◽  
Victor Martin ◽  
David Vallejo Fernandez ◽  
Jose Castro-Schez ◽  
Javier Albusac
Keyword(s):  
Fuzzy Logic ◽  
Expert System ◽  
Evolutionary Computation ◽  
Graphic Design ◽  
Expert Knowledge ◽  
Trial And Error ◽  
Design Elements ◽  
Design Expert ◽  
Novel Approach ◽  
Design Activities

Graphic design is the process of creating graphics to meet specific commercial needs based on knowledge of layout principles and esthetic concepts. This is usually an iterative trial and error process which requires a lot of time even for expert designers. This expert knowledge can be modelled, represented and used by a computer to perform design activities. This paper describes a novel approach named Gaudii (standing for "Intelligent Automated Graphic Design Generator") which utilizes principles and techniques known from the fields of Evolutionary Computation and Fuzzy Logic to automatically obtain design elements. Experimental results that demonstrate the potential of the proposed approach are presented in the area of poster design.

scholarly journals Graphic design and scientific research: the INGV experience

2020 ◽  
Author(s):  
Daniela Riposati ◽  
Giuliana D'Addezio ◽  
Francesca Di Laura ◽  
Valeria Misiti ◽  
Patrizia Battelli
Keyword(s):  
Graphic Design ◽  
Collaborative Work ◽  
Scientific Research ◽  
Visual Image ◽  
Research Activity ◽  
Essential Point ◽  
Design Elements ◽  
Comprehensive Plan ◽  
Research Activities ◽  
Product Package

Abstract. Part of the INGV activity is focused on the production of resources concerning Educational and Outreach projects on Geophysics and natural hazard topics. The forefront results of research activity, in fact, are periodically transferred to the public through an intense and comprehensive plan of scientific dissemination. In the past 15 years, graphic and visual communication has become an essential point of reference supporting institutional and research activities. Positive experiences are the result of a strict relationship between graphic design and scientific research, in particular the process concerning the collaborative work between designers and researchers. In projects such as the realization of museum exhibition or the production of illustrative brochures, generally designed for broad-spectrum public, the goal is to make easier the understanding and to support the scientific message, making concepts enjoyable and fruitful through the emotional involvement that visual image can arouse. The graphics and editorial products, through composition of signs and images by using different tools (colors, form, lettering) on different media (print, video, web), link to create a strong identity INGV style, in order to make them easily recognizable in Educational and Outreach projects. A project product package might include a logo or other artwork, organized text and pure design elements such as shapes and color, which unify the piece. Color is used not only to help the logo stand out from the international overview, but in our case to have a unifying outcome across all the INGV sections. A recent and stimulating experience has been the collaboration between INGV project design and its reference scientific community in order to create edu-games, products specifically designed for scientific dissemination. The edu-games have been designed to be an efficient combination of educational content and playful communicative aspects, with the aim therefore to learn while having fun.

scholarly journals Organisation design and the role of ICT: Negative effects of working from home during the coronavirus pandemic

2021 ◽  
Vol 16 (1) ◽  
pp. 1-12
Author(s):  
Ernad Kahrović ◽  
Emina Kahrović
Keyword(s):  
Dominant Role ◽  
Organization Design ◽  
Negative Effects ◽  
Work From Home ◽  
Working From Home ◽  
New Organizational Forms ◽  
The Creation ◽  
Impact Of Technology ◽  
The Impact

The goal of the paper is to point to the role and importance of organization design as a tool for strategy implementation, together with a dominant, role of technology in shaping the design. Namely, the development, of modern information and communication technology (ICT) is accompanied by the creation of new organizational forms, which enable the management, and employees to carry out, a significant, portion of work from home. The central focus of this paper is the impact, of technology on the creation of new forms of design, with a virtual organization taking up a particularly prominent, position. We underline the fact, that, among many changes that, the coronavirus pandemic has produced in everyday life, working from home can be considered as the most, drastic one; hence, its harmful effects are underscored, such as those relating to negative psychological effects, anxiety disorders, health issues, job loss, decreased efficiency and reduced satisfaction of the employees.

scholarly journals Zen Studio Meditation for Kids by P. Bonita & B. Silverman

2018 ◽  
Vol 8 (1) ◽  
Author(s):  
Cori Sanderson
Keyword(s):  
Graphic Design ◽  
Radio Station ◽  
Design Elements ◽  
University Of Alberta ◽  
Spare Time ◽  
Library And Information Studies ◽  
Information Studies ◽  
Second Year ◽  
The University ◽  
Age Range

Bonita, P., & B. Silverman. Zen Studio Meditation for Kids. Edoki Academy, 2016. Vers 1.15. Apple App Store, https://itunes.apple.com/us/app/zen-studio-meditation-for-kids/id1051358262?mt=8  Suggested age range: 4+ Cost: Free with in app purchases (complete version $3.99 USD) Edoki Academy has effectively created an app that allows children to appreciate music and art as relaxation aids. Their Zen Studio Meditation for Kids is a painting app that allows children to virtually finger paint by filling in a grid of triangles with colours as music notes simultaneously play. The free version of the app offers two blank canvases and two canvases with tutorials that they can follow. The app is designed well and is intuitive enough that is does not need the clutter of menus or instructional detours. The only instances where guidance is visible are when new spaces on the grid are exposed to guide users to the next colour, or when the congratulatory confetti explodes on the screen to signify that a tutorial is completed. It is important to note that once a tutorial is completed the music continues to play and children can continue painting over the triangles as they please without the pressure to move on to a new tutorial. There is no feedback or time limit given for the tutorials because the point is to relax and enjoy the process. What makes the app unique is the layering of music that happens when the background meditation music blends with the notes that play each time a triangle is filled in with colour. This allows children to relax to the background music and be encouraged to create their own melodies as they are painting. The graphic design elements are simple and clean and there are no words that prompt you to select a canvas or a tutorial. Instead of words, the app uses animation and magnification to show that a selection has been made. It is very clear when a choice has been made because it appears in colour and the universal “play” triangle symbol appears, leading the user to click there to begin the painting.  A handbook for parents and teachers is also included in the app. This additional document provides information on mindfulness and the intentions behind Edoki Academy’s Zen Studio Meditation for Kids. It also offers some learning exercises and questions that parents or teachers can supplement with the app. This app is recommended for creative children who enjoy music and painting, or those who would benefit from learning new ways to reduce stress or anxiety and practice mindfulness. Screenshot of the homepage showing the two blank canvases and two tutorial canvases.   An example of a tutorial of a firetruck almost at completion. Recommended: 3 out of 4 stars Reviewer: Cori Sanderson Cori is in her second year of the Master of Library and Information Studies program at the University of Alberta. In her spare time, she listens to podcasts and volunteers at her local campus radio station where she participates in a monthly library-centric radio show.  

Adaptability and Adaptivity in The Generation of Web Applications

2011 ◽  
pp. 99-122
Author(s):  
Raoudha Ben Djemaa ◽  
Ikram Amous ◽  
Abdelmajid Ben Hamadou
Keyword(s):  
Web Application ◽  
Web Applications ◽  
Conceptual Level ◽  
Design Elements ◽  
Semantic Level ◽  
New Concepts ◽  
Generation Level ◽  
The Creation

This article proposes a generator for adaptive Web applications called GIWA. GIWA‘s objective is to facilitate the automatic execution of the design and the generation of Adaptable Web Applications (AWA). Characteristically, the effort in this work has to be pursued with special attention to both issues applied to AWA: adaptability and adaptivity. The architecture of GIWA is based on three levels: the semantic level, the conceptual level and the generation one. Using GIWA, designers specifies, at the semantic level the features of Web application. The conceptual level focuses on the creation of diagrams in WA-UML language; the extended UML by our new concepts and new design elements for adaptation. At the generation level, GIWA acquires all information about users’ preferences and their access condition. Consequently, the generated pages are adaptable to all these information. An evaluation and a validation of GIWA are given in this article to prove our adaptation.

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