Effects of Food Styling Visual Elements in Tteok Café Menus on Consumer Buying Habits

2016 ◽  
Vol 31 (1) ◽  
pp. 64-72
Author(s):  
Su In Kim ◽  
Keyword(s):  
Author(s):  
Yayah Rukiah

This research is focused on the visual elements contained on Kusdono's Cirebon glass painting. The writer uses descriptive qualitative research methods to examine the visual elements, with the technique of collecting data from books and journals that relates to the research object. The purpose of this study is to examine and find the meaning of Cirebon glass paintings. The results of this research are Semar as the main figure in the clown who always do good, keep the truth and obey the tenet that closely related to Islam. Arabic calligraphy reinforces Semar's figure. On the Cirebon glass painting, there are many mega mendung ornaments and wadasan which are Cirebon batik motifs, as well as the colors used in the coastal colors due to the geographical location of Cirebon City near the beach.  


Author(s):  
Francesco Gelli ◽  
Tiberio Uricchio ◽  
Xiangnan He ◽  
Alberto Del Bimbo ◽  
Tat-Seng Chua
Keyword(s):  

2010 ◽  
Vol 13 (2) ◽  
pp. 765-776 ◽  
Author(s):  
Cristina Cambra ◽  
Aurora Leal ◽  
Núria Silvestre

The understanding of a television story can be very different depending on the age of the viewer, their background knowledge, the content of the programme and the way in which they combine the information gathered from linguistic, audio and visual elements. This study explores the different ways of interpreting an audiovisual document considering that, due to a hearing impaired, visual, audio and linguistic information could be perceived very differently to the way it is by hearing people. The study involved the participation of 20 deaf and 20 hearing adolescents, aged 12 to 19 years who, after watching a fragment of a television series, were asked to draw a picture of what had happened in the story. The results show that the graphical representation of the film is similar for both groups in terms of the number of scenes, but there is greater profusion, in the deaf group, of details about the context and characters, and there are differences in their interpretations of some of the sequences in the story.


Author(s):  
Oliver Hahn ◽  
Steffen Lemke ◽  
Athanasios Mazarakis ◽  
Isabella Peters
Keyword(s):  

2021 ◽  
Vol 66 (4) ◽  
pp. 353-366
Author(s):  
Ioana-Ciliana Tudorică ◽  

The Role of Myths in Japanese Calligraphy’s Interpretative Process. This article illustrates the role of myths in the interpretative process of calligraphic works. Being considerably different from Western calligraphy, Japanese calligraphy (shodō) may seem at times visually similar to abstract art. However, calligraphic works – and shodō as art – are rich in meaning and abundant of myths. Focusing on both linguistic and visual elements of calligraphy, the article depicts how myths can be identified in a calligraphic work and how they provide a better understanding of the particularities of shodō. In order to illustrate how myths uncover new layers of meaning, the article incorporates an analysis of a calligraphic work created by Rodica Frențiu, underlining the process of accessing the transcendent meaning. Keywords: shodō, Japanese calligraphy, calligraphy, cultural semiotics, Japanese studies, kanji, myth, Zen, Buddhism.


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