Graphics Design

With their rich pictorial content, the illustrated manuscripts have been of high interest for the scholars and researchers of art history. An Ottoman- Turkish illustrated manuscript, Süleymanname is an official history book produced in the Ottoman Court in the 16th century that documents and depicts the events during the reign of Süleyman I. The pictorial content of these manuscripts is studied as a painting from an art history point of view where they are referred as miniature paintings. There is a need to study the images from a graphic design and illustration point of view. This paper investigates the making of the images in the manuscript as an illustration by graphically analyzing the illustrated pages of Süleymanname. Particularly, the paper presents an analysis on how the natural and the architectural elements are represented in the pictorial plane to create the main space of the illustration.

This report is a summary of all work experience I have been able to gather during my SIWES training programme at Roystech IT Solutions.

The report contains my all my experience in front-end development in relation to HTML, CSS and Bootstrap.

It also contains an overview of my one month teaching experience at Platform Schools.

In conclusion is a summary of what I learnt in my six months SIWES programme.

Este artigo faz parte de uma pesquisa de doutorado na área de design de embalagens para perfumes, cujo objetivo é investigar as possibilidades de tradução dos cheiros em elementos visuais. Em paralelo ao papel do design na comunicação dos efeitos que um perfume propõe desencadear, temos a mensagem publicitária com seu forte apelo verbal. Argumentamos que, para um resultado eficaz, o design deve estar em consonância com tal apelo verbal. Um dos vieses dessa pesquisa de doutorado é investigar a relação que embalagem e mensagem publicitária podem estabelecer. Nesse artigo apresentamos um estudo inicial que explora a percepção do consumidor quanto a relação entre linguagem visual e verbal. Para tanto, selecionamos um caso real de mercado, no qual o consumidor não tem contato com o produto, isto é, um catálogo virtual de perfumes. Realizamos uma pesquisa virtual com consumidores para identificar se as mensagens publicitárias estavam em consonância com a embalagem dos perfumes. Os resulta...

Entonces al desaparecer el antiguo imaginario de la región del " Reyno de Chile " : lugar imaginado desde los ímpetus utópicos y luego rebajado [sólo en lo administrativo] a Capitanía General, queda únicamente el vertedero de la tontería: la borra de lo fútil Cuando se extingue el vetusto imaginario, la polarización y la tontería arremeten para quedarse Y es ahí, en ese tris, cuando uno se da cuenta de que ya no habita más su lugar original Si no un territorio desconocido que nunca volverá a ser aquel espacio del acurruco de siempre Postcolonialismo, movimientos sociopolíticos, acontecimientos y pequeños relatos, la intimidad, la cotidianidad, la esperanza, la revolución, la política, los ideales, la muerte, la tontería, los espectros silentes

In order for graphic design to become more global, social, and inclusive, we can look to precepts of decolonization to inform our research and practice. In (de)colonial contexts, such as in the one in which my students and I work in Mexico, opportunities open up for designers and those who need and will benefit from design. In this paper, I draw on my work with US students in Mexico to design with Maya entrepreneurs who want to bring their products to cosmopolitan regional and international markets. To orient the audience, I provide a brief overview of participants—students and entrepreneurs—and context, with attention to the historical marginalization and contemporary context of our indigenous colleagues. I draw from the humanities and social sciences—particularly decolonization—as I outline concepts fundamental to our effective mutual engagement. Examples elucidate these concepts and support my argument that results from working in this complex intercultural and global context for over a decade. I propose that questioning and reconceptualizing the role of the designer in a subaltern context can create new opportunities for designers and colleagues, empowered and responsible through this process. Finally, I propose it is a way to work against dominant and oppressive structures and create new ways of knowing.

Fundamentally, with every design solution, we are trying to present information in the best possible way to make communication easier. n this paper, we will be talking about functionality of layouts and how to ameliorate them by following a set of iterative protocols. We will be using an existing website layout as a case study as we procedurally try to enhance it by applying these protocols.

We designed updated courseware of graphic design in which you will learn all the aspects of graphic designing. We teach you training over below software::

1) Adobe Illustrator 
2) Adobe Photoshop
3) Adobe InDesign
4) CorelDRAW
5) QuarkXPress
6) Acrobat Reader
7) Adobe Bridge

Even though there are lots of varieties of graphic design areas today, the posters, which are one of the most effective ways of informing the public about the solutions of the problems among other communication tools, kept up with developing technology and changed not only according to technical facilities but also art movement at that time. Motion posters, which are designed on numerical platforms by animating and are presented with LCD technology, attract people. In last a few years, motion posters which showed up by animating some movie posters done on digital platforms will maybe meet us so as to present some products, create awareness of the consumers and increase sales. Today, the competition of being better and more different for the companies will help the new advertisement to be widespread. The poster making its target group felt its existence there by making use of the principles of specific design, must make itself noticed. There needs an impressive and strong feature which makes them noticed the piece of paper hanging on the wall: Motion.what a mini fragment for changing the attitudes and perceptions of the target audience, visual images and typographic elements of poster in a specific sequence will increase noticability of poster through this message bombardment. The purpose of the study, now only used for experimental animated banner mobilization of movie posters in the coming years in the varieties of the other posters are questioning whether to use. In this context, hatching mode and effect analysis methods are research methods that will be used.

The purpose of this study is to examine the effects of Gestalt Theory on graphic design. For this purpose, the perception in the Gestalt Theory has been addressed with regard to the relation of graphic design products, design principles and design elements. In this study the descriptive method has been used. The horizon of the study is composed of determination of gestalt effects on the graphic designs. It is determined that according to Gestalt Theory, the principles forming perceptual organization laws in the visual perception of Gestalt Theory are included in the graphic design principles, and that for graphic design process and graphic designer, the use of the principles of Gestalt Theory forming the perceptual organization laws have positively affected the perception on graphic design.

A practice-based research to study how to transform cultural features into design elements under the framework of culture-oriented design. The researcher plays a role as an explorer to generate a product design based on the cultural product design model. To realize the research objective, Chulalongkorn University’s faculty of Communication Arts 50th anniversary souvenir design project was selected. In a​ period of three months, the research was conducted with the application of cultural product design model.

A comparison of two theoretical trends in cartography, Map Design and "semiologie graphique", following the works of Arthur H. Robinson (in the US) and Jacques Bertin (in France). The paper questions their development, respective influence and relationships (or absence of relationships)

Background/Significance:
The dearth of professional designers is affecting the profession of creativity; therefore, the need for more expertise
in visual communication in Nigeria and globally cannot be over
emphasized
. Therefore, th
is study
will bring to the fore the need to develop interest in
and  strive  towards  attainment  of  professiona
lism  as  media  designers,
through  the  presentation  aimed  at  enabling  ease  of  understanding  in  how  to
produce  high  qual
ity  visual/graphic  designs,  and
media  content  and  to  contribute  toward  the  concept  of  creative  innovation  on  and  off
-
line  media
layout solutions.

IJCST - ASDFJournals.com

A critical commentary that presents and contextualizes a film and video making practice spanning three decades. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to the author’s initial screenings of work as part of the 1980’s British Scratch video art movement.

At the heart of the body of work presented here is an exploration and examination of methods and working practices in the encounter of music, sound and moving image.
Central to this is an examination of the affective levels that sound and image can operate on, in a transsensorial fusion, and political and cultural applications of such encounters, whilst examining  the epistemological regimes such work operates in.

A combination of factors has meant that work such as this, arising in the UK provinces, can fall below the historicizing and critical radar – these include the ephemeral and transitory nature of live performance work; the difficulties of documenting such work; the fragility and degeneration of emerging and quickly obsolescent formats; and a predominance of a London–centric focus on curating, screening and historicizing of experimental film and video art practices.

The author's film and video practice has been screened nationally and internationally over three decades, and has been recognized as exemplary practice both in the early 1980s at the inception of the Scratch movement and in more recent retrospectives. The critical commentary argues that this work contributes new knowledge of the history, contexts and practices of film and video art and audiovisual and visual music practices.

As both the skepticism and ‘hype’ surrounding electronic environments vanish under the weight of ever increasing power, knowledge, and use of information technologies, the architectural profession must prepare for significant expansion of its professional services.
To address the issue, this paper offers a survey of the professional services architects and designers do and may provide in digital space, and who the potential clients are. The survey was conducted by interviews with software developers, gaming companies, programmers, investigators, practicing architects, faculty, etc. It also included reviews of actual software products and literary research of conference proceedings, journals, books and newspapers (i.e. articles, classified ads, etc.).
The actual and potential markets include gaming and entertainment developments, art installations, educational applications, and research. These markets provide architects the opportunity to participate in the design of 3D gaming environments, educational software, architecture for public experience and entertainment, data representation, cyberspace and virtual reality studies, and other digital services which will be required for this new world.
We will demonstrate that although the rapidly growing digital market may be seen by some to be non-architectural and thus irrelevant to our profession, it actually represents great opportunities for growth and development. Digital environments will not replace the built environment as a major architectural market, but they will significantly complement it, thus strengthening the entire architectural profession.

"Visualizing Art History: Experimental Animation and Its Mentor, Jules Engel" by Janeann Dill, phd, mfa

A dictionary begins when it no longer gives the meaning of words, but their tasks.
--- Georges Bataille

It is most often the case when I refer to my work as experimental animation that I am met with the question, what is experimental animation? I am instantly reminded of a story about Louis Armstrong in conversation with Johnny Carson who asked Armstrong, “What is jazz?” Louis Armstrong enthusiastically responded, “Well if you don’t know what it is, I sure as hell can’t tell you!”

In some ways, Louis Armstrong’s response might be said to be universal for questions having to do with art, in that any attempt to offer definition tends to further confuse, bind, constrict and/or be irrelevant, rather than to clarify meaning. As a scholar and as an artist, I am most interested in the unanswerable. As I understand it, to ask the unanswerable is the beginning of an event … if you will, an event of language, timing and gesture, experimentation and conceptualizing. The more important consideration in a “what is ____?” question is not the answer, but the asking.. How is it we know so little about the art form?

Earth constructions are recognized as low environmental impact solutions. They are durable constructions, strong, climatically efficient, formally flexible and the resources are renewable and reusable, promoting sustainable development. Also known as "bagged adobe", "continuous bag stabilized earth", "earthbag building" or "Earth-filled bags", the superadobe is a construction technique where the walls are basically built by bags filled with earth, stacked and reinforced, with barbed wire between them. The technique was developed as a possible solution for building on the moon, then applied to solve the social housing issue, and it is now possible to find buildings in robust superadobe with different uses and with other constructive technical associations. This article aims make an overview of literature dedicated to Data collection and constructive classification of superadobe buildings Ciência e Sustentabilidade-CeS | Juazeiro do Norte v. 2, n. 2, p. 208-226, jul/dez 2016 209 superadobe construction and offer an alternative of their topologic classification supported by already implemented constructions, in order to assist future research on recognizing and overcoming the limits and variations of the construction technique. The method is qualitative research with an exploratory nature through survey in magazines, books and webpages dedicates to architecture, engineering and sustainability fields.

Este artigo faz parte de uma pesquisa de doutorado na área de design de embalagens para perfumes, cujo objetivo é investigar as possibilidades de tradução dos cheiros em elementos visuais. Em paralelo ao papel do design na comunicação dos efeitos que um perfume propõe desencadear, temos a  mensagem publicitária com seu forte apelo verbal. Argumentamos que, para um resultado eficaz, o design deve estar em consonância com tal apelo verbal. Um dos vieses dessa pesquisa de doutorado é investigar a relação que embalagem e mensagem publicitária podem estabelecer. Nesse artigo apresentamos um estudo inicial que explora a percepção do consumidor quanto a relação entre linguagem
visual e verbal. Para tanto, selecionamos um caso real de mercado, no qual o consumidor não tem contato com o produto, isto é, um catálogo virtual de perfumes. Realizamos uma pesquisa virtual com consumidores para identificar
se as mensagens publicitárias estavam em consonância com a embalagem dos perfumes. Os resultados são aqui apresentados e discutidos.

The increasing urbanization of many third-world cities has led to increased generation of solid wastes which are often ill-managed and indiscriminately dumped, posing grave challenges to local environmental engineers and designers. This has consequently reduced the sustainability of many built and natural African environments. Therefore, this study was aimed at practically applying aesthetics in solid waste management as a means of optimizing sustainability in urbanizing West African environments. Adopting a descriptive approach supported with direct observation, with a total sample size of 610, respondents were purposively sampled in selected research sites in Nigeria. Following one hypothesis testing, the study showed a significant association between improved environmental affordance (derived from aesthetics) and the alleviation of negative user responses to the environment (such as indiscriminate dumping of solid wastes). The study also showed that more aesthetically negative environments offers more negative environmental affordance than positive environmental affordance. The results confirm that the majority of users of the environments (humans) exhibit more positive environmental behaviours when positive affordance is perceived from the environment. The study therefore established the significance of the practical application of aesthetics in the management of solid wastes in urbanizing third world environments.

Kunst og design – faglighed og samspil

Denne masterafhandling handler om grænselandet mellem design og kunst, med fokus på grafisk design. Gennem en undersøgelse af to cases, Kurt Schwitters (1887-1948) og Andy Warhol (1928-87), der begge har arbejdet med grafiske udtryk og teknikker inden for de to områder, belyses nogle af de skismaerne i dette grænseland. De to cases repræsenterer to opbrudsperioder i det 20. århundrede, den historiske avantgarde i 1920-30erne og neo-avantgarden fra slutningen af 1950erne og frem, og deres arbejde og faglighed sættes ind i en historisk kontekst. 

Med udgangspunkt i arkitekt og professor Dana Cuffs bog Architecture: The Story of Practice undersøges, hvilke påvirkninger, fx uddannelse, samarbejde med kolleger og samfundsmæssige eller personlige begivenheder, der har medvirket til dannelsen af Schwitters’ og Warhols faglige etos og til at forme deres respektive karrierer. 

Gennem tekster med både teoretiske og praktiske, designmæssige indgangsvinkler præsenteres grafiske designere syn på egen faglighed, og der trækkes en linje fra Schwitters og Warhol til de dekonstruktivistiske tendenser i grafisk design, der opstod via punk-bevægelsen i 1970erne, og til den efterfølgende udforskning af læsbarhed, kreativ brug af typografi og til diskussionen om ejerskabet af grafisk design.

Afhandlingens undersøgelse viser, at trods en lang række forsøg på tilnærmelse eksisterer de to fagligheder design og kunst stadig som to adskilte størrelser – men i dynamisk samspil. Den faglige etos hos hhv en designer og en billedkunstner er stadig forskellige, og man kan registrere i hvert fald to måder at håndtere dette på: man kan veklse ubesværet mellem faglighederne (Schwitters), eller man kan trække elementer fra én faglighed med ind på en anden fagligheds område (Warhol). Definitionen på både kunst og grafisk design har ændret sig gennem årene i retning af en sammensmeltning, men denne har (endnu) ikke fundet sted.

ÖZ Kimlik kavramı toplumun sosyal sisteminin en temel ve önemli kökenini oluşturmaktadır. Kimlik, bireylerin olduğu gibi kurumların da kültürel, sosyal konum ve statülerinin karşılığı olan çok boyutlu, inanç, tutum, değer yargılarını sembolize eden bir kapsama sahiptir. Kurum kimliğinin oluşması, pozitif bir imaj ve kurum itibarı için günümüz koşullarında bir zorunluluk haline gelmiştir. Kurum kimliğinin oluşması öncelikle kurumdaki hiyerarşik hantal bürokratik yöntemlerin terkedilmesi, iletişim biçimlerinin yeniden yapılandırılması, nitelikli bir görsel kimlikle (kurumsal imaj) somutlanmasını gerektirmektedir. Bunlar kurumsal itibarın oluşmasında en önemli etmenlerdir. Görsel kimliği oluşturan etmenlerin (başında gelen) imzası olan Logo bir semboller bütünüdür. Zamanın en değerli meta olduğu günümüzde, izleyici logoyu ne kadar çabuk algılarsa, markayı da o kadar hızlı tanıyacak ve zihninde yer edecektir. Kurumun Kimliği için bu anlamda logonun doğru tasarlanabilmesi, kurumun anlaşılabilirliği açısından çok önemlidir. Kurumun anlaşılabilirliği ancak logonun kurum kültürüne, öz değerlerine uygun renk/biçime ve doğru tasarıma sahip olması ile mümkündür. Türkiye'de üniversitelerin çoğunun görsel kimliklerini oluşturmada genel olarak, bilinçsiz ve özensiz oldukları söylenebilir. Bu bağlamda Türkiye'deki devlet üniversiteleri genelinde kurumsal kimlik yoksunluğu ve ilintili olarak sorunlu görsel kimlik örnekleri incelenecektir. ABSTRACT Identity concept constitutes the most essential and significant root of social structure of the community. Identity has a scope that symbolizes multi-dimensional faith, attitude, value judgments that correspond to cultural, social states of individuals as well as of institutions. Development of corporate identity is obligatory for positive image and corporate prestige in today's circumstances. Development of corporate identity has become mandatory for a positive image and corporate prestige in today's circumstances. Development of corporate identity calls primarily for abandoning hierarchical bulky bureaucratic methods, restructuring communication means and for substantiating through eligible visual identity (corporate image). These are the most important factors in forming corporate prestige. Logo, having signature as one of the (leading) factors making up Corporate Image, is a whole of symbols. Logo must be so designed plain and right to remind the institute it directly represents, in a fashion that can be applied in every circumstance and size. In today's world where time is the most precious meta, the quicker the audience perceives the logo, the quicker the brand will be recognized and it will strike. Correct logo design in this sense is vital for Corporate Identity in terms of institutional understandability. Corporate understandability is only possible with correct logo design that matches corporate culture and appropriate colour/form of core-values. In this regard, lack of corporate identity throughout Turkish state universities and relatedly turbulent visual identity samples shall be studied.

Philanthropy is an important part of Saudi Arabia’s identity as it is linked to the country’s religion and culture. Even though nobody can deny how crucial philanthropy is for Saudis, it is not reflected virtually on the Internet. This PhD aims to enhance philanthropy by putting it in a virtual context. Online philanthropy is known as e-philanthropy and this research documents the design of an e-philanthropic tool that is appealing to users in Saudi Arabia. Its aim is to design an interactive website where users can communicate with each other to meet their specific needs. It explores the nature of philanthropy in the Saudi context and employs human-centred design and user-centred design approaches to create a website in support of this. It is based on qualitative and quantitative data collection from recipients of philanthropy and those who take an interest in the topic. This resulted in the design brief for a new ephilanthropic tool based on time giving, a concept closely related to time banking and something that, to date, has not been launched in Saudi Arabia. 

As time banking is the closest concept to that of time giving, this project investigated time banking as a philanthropic tool in other contexts. The design of the website for the Fair Shares time bank in the UK was analysed as a source in order to benefit the new project. This was achieved by using Agarwal and Venkatesh’s (2002) Microsoft Usability Guideline, which was reformed by Pallud (2002). After investigating Saudi culture, the concept of time banking and the design features of a website in the field, the researcher-designer then created a time giving website named “Joud”, a word which means liberality and generosity in Arabic. The process of creating this website was influenced by Schön’s (1983) account of the reflective practitioner, where the designer looks for ways to order, resolve and improve their practice. After the design of the website was finished it was launched online at www.joudtime.org. The website was then evaluated using the same technique used to analyse the Fair Shares site; namely the modified Microsoft Usability Guideline. This was to improve the design and get a sense of whether the idea would work in Saudi Arabia or not. 

This study shows that time giving can be a philanthropic tool in Saudi Arabia. It also shows that using a human-centred design and a user-centred design method in order to investigate specific target users is a practical and useful approach. The outcome shows how the design 
would take the user into consideration especially in a philanthropic context. Moreover, the resulting design is the first that brings time giving to the Saudi user. As a result, the project met its aim to replicate the philanthropic culture of Saudi Arabia virtually by creating an ephilanthropic tool for their context.

We are already used to continuously perceive and attend to new creative incentives society and its artists produce, perhaps with greater abundance and speed than have ever been experienced before. Contemporary creators’ material resources and intellectual capabilities produce a stream of incentives that end up leading to the vast estuary the global world where our experiences elapse is. This fact can produce a saturation of messages and sensations that can hardly be read in its entirety and that could retract from these many manifestations.

It is because of this, that it is gratifying to find firmly constructed artistic projects, result of a continuous and extensive work, that surface throughout small but important concepts which, just as the tip of the iceberg, appear, announcing a greater impact. Travelling through this book contents I have been able to verify that we are faced with one of these circumstances. Sebastián García-Garrido, starting from primary elements such as wood, as the nature of all things reflection, the craft skill, with its utilitarian capacity to ease a man’s life, and the thinking used to reflect about everything that surrounds us, creates an original, rich and interesting way to contemplate his work.
The wooden type, an object we could qualify as industrial, ordinary, technical, instrumental or common, is established as axis of this process. The artist puts it this way:

“Regarding to the movable wooden type, this has lost the functionality for which it was created and deprived from that, it acquires by itself the possibility to be considered and looked at exclusively as an aesthetical element, either as a reflection of the letter performed, alone, or in a word related to a defined concept. In this sense referring to a concept or own name, the expressive possibilities of the work grow in the specific sense it transmits”.

And it does so in a lengthy and detailed process of work and research, in which the knowledge and experience of someone dedicated to intellectual work has been accumulated. His training allows him to explore the writing and printing cultural legacy in all their manifestations, as well as the remaining graphic arts. He elaborates a scientific reflection process throughout his work, thoroughly analysing every trajectory of the writing culture and its evolution, which allows him to establish a dialogue between the movable type historical notions, especially from wood, and the new aesthetical and conceptual meanings. Shapes that have been used to transmit messages are now messages on their own, in a knowledge deepening process. 
In this way, he achieves his goal, the artistic creation. It is not usual for an author to make a detailed explanation of the steps that lead him to proceed in a certain way and with a particular material. In Sebastián García-Garrido’s case it is like that, which allows us to better understand the significance of his creations. Thus, the documental complement he presents, which we can see in this book that frames and summarises the artist’s work, is an added value to his works. We are then faced with a solid and justified work that allows us to think about our own culture.

Not long after the discovery of the Halilud (Jiroft) civilization, much research has been done on this civilization and the study of the structure of motifs on recent works. Given the lack of written information and sufficient historical evidence from this civilization and its place in the history of ancient Iranian art, articles on the subject can be a good source of inspiration and inspiration. , Our knowledge, technical know-how, and so on. The motifs used on the works are an important part of ancient Iranian art. The motifs of pottery, and many of which are decorated with very beautiful themes, have always been at odds with the worldview, symbolic concepts, and cultural connections of societies in times past. The purpose of this research is to study the visual structure of decorative motifs (technical knowledge of aesthetics) on the found works of Jiroft civilization and to question their aesthetic quality. As well as studying the visual structure of the motifs used on the works, we can reveal the visual sensibilities of the creators of these works on the beautiful, the principled and precise application of aesthetic elements (technical knowledge) such as rhythm, symmetry, balance, proportion, concentration, balance and so on. The stone artifacts of Jiroft civilization are widespread and it is important to note that the people of this civilization, in addition to the functional aspects of everyday life, use various motifs (geometric, human, plant, animal, thematic and symbolic) on these works. They have tried to satisfy their aesthetic needs.
The method of data collection in this article is library studies and field research through objective observation and research method is descriptive and analytical. It seems that the origin of the visual elements, abstract ideas, and realistic images is derived from the surrounding nature and mythological rituals of the field, along with the sensitive and aesthetic mind of the artists emanating from their culture. Engraving on these containers has been a means of conveying the message in pre-historic times and has been used by artists as the most appropriate canvas for displaying the message and human knowledge.
The questions of this study are: 1. What are the elements and qualities of the technical (visual knowledge) used in the design and composition of the decoration of the containers and what are the visual communication techniques associated with the Harylrud stone containers? What is the semantic relationship between the form and content of the motifs in these works? Purpose: 1) To study the visual and visual structure of the motifs in the works of this civilization 2) To analyze the relationship between form and content used in the works of this civilization

Graphics are often mistaken for a mere frill in the methodological arsenal of data analysis when in fact they can be one of the simplest and at the same time most powerful methods of communicating statistical information (Tufte, 2001). The first section of the article argues for the statistical necessity of graphs, echoing and amplifying similar calls from Hudson (2015) and Larson–Hall & Plonsky (2015). The second section presents a historical survey of graphical use over the entire history of language acquisition journals, spanning a total of 192 years. This shows that a consensus for using certain types of graphics, which lack data credibility, has developed in the applied linguistics field, namely the bar plot and the line graph. The final section of the article is devoted to presenting various types of graphic alternatives to these two consensus graphics. Suggested graphics are data accountable and present all of the data, as well as a summary structure; such graphics include the scatterplot, beeswarm or pirate plot. It is argued that the use of such graphics attracts readers, helps researchers improve the way they understand and analyze their data, and builds credibility in numerical statistical analyses and conclusions that are drawn.

The emergency situation started a ‘literacy’ (learning) about the web-based pandemic. Communicating through images, produced through the most varied media, has become more important than ever. In the absence of interpretational models to to refer to, the images presented daily by mass media have been our ‘window on the world’. With respect to this multiform world of images and starting from a selection/analysis of the types of visual medium, the article aime to investigate and expresse a set of reflections on functions and messages, contexts, focus, encodings, instructive-symbolic power of this immense amount of images in relation to events, places, and people in this crisis situation.

The purpose of this study is to examine the effects of Gestalt Theory on graphic design. For this purpose, the perception in the Gestalt Theory has been addressed with regard to the relation of graphic design products, design principles and design elements. In this study the descriptive method has been used. The horizon of the study is composed of determination of gestalt effects on the graphic designs. It is determined that according to Gestalt Theory, the principles forming perceptual organization laws in the visual perception of Gestalt Theory are included in the graphic design principles, and that for graphic design process and graphic designer, the use of the principles of Gestalt Theory forming the perceptual organization laws have positively affected the perception on graphic design. Keywords: graphic design, gestalt theory, figure-ground.

While there is a rich array of urban theory, design, and representation books available, there is currently no book which brings together, in a single volume, urban design theory and new digital technologies in urban information mapping, modeling, and 3D ...

The aesthetic of triacetate.
Strength or weakness?

"Fidel seems to favour Adidas tracksuits which appear to be made of a cloth so rich in manmade fibres that downtown Havana could probably be powered off the static electricity they generate."
Andrew McKie, The Daily Telegraph

This article proposes an artistic approach to increase and enrich the understanding of Julia Sets. This approach includes the mathematical, the playful, the artistic and the computational dimensions. It is argued that these four dimensions are not disjointed or dissociated despite general rejection by traditional academic communities and art critics communities. Also, some significant collections of Computational Art or Computer-Generated Mathematical Art are mentioned. Four artistic creations based on Julia Sets are presented as examples using the CFDG language. Finally, an informal application of the approach was carried out and artistic production of students are presented and discussed.

Günümüzde son derece rekabetçi ve büyük bir pazar olan tüketim ürünleri sektöründe ambalaj tasarımının önemi büyüktür. Ambalaj, formu, malzemesi, kullanım şekli, üzerinde yer alan grafik ögeler ile ürünün kimliğini yansıtan bir tanıtım ögesidir. Ambalajın “iletişimsel” boyutu, tüketicileri etkileyebilecek ve satın alma davranışlarını etkiler. Ambalaj, dikkat çekme ve iletişim kurma yönleri ile tüketici algısını etkiler, duygularına hitap eder ve arzu yaratan imajlar iletir. Bu nedenle, ambalaj perakende sektöründe bir promosyon aracı olarak düşünülebilir. Ürünün fiziksel özelliklerinin tüketiciye ulaşana kadar korunmasının yanı sıra, çağdaş alışveriş alışkanlıkları doğrultusunda perakende ortamında dikkat çekerek sessiz satış görevini yapar. Bu özelliği ile ürünün pazarlanmasını doğrudan etkileyen ambalaj, “işlevsel” boyutu ile ise taşınma, depolanma ve tüketici tarafından kullanımına olanak sağlar. Ambalajın işlevselliği ürün yalnızca tüketiciye ulaşana kadar değil, tüketici ürünü satın aldıktan sonra da devam eder. Ürünü taşıma, açma, kapatma, kullanma ve çöpe atma esnasında ambalaj ile ilişki içindedir. İşlevsel ambalaj tasarımları tüm bu süreci daha kullanılabilir, etkili, hatta keyifli kılabilir. Böylelikle tüketicinin zihninde ürünle ilgili oluşan imaj bir sonraki satın alma kararında etkili olur. Modern toplumda insanlar her geçen gün daha hızlı çalışmak ve yaşamak durumunda kalmakta, bu nedenle günlük hayatlarında hız ve rahatlık aramaktadırlar. Bu süreçte tüketim ürünleri ambalajlarının kullanım kolaylığı ve işlevsellik fonksiyonları önemli rol oynamaktadır. Bu çalışmada; tüketim ürünlerinin ambalaj tasarımında işlevselliğin önemi vurgulanmış ve işlevsel bir teneke ambalajı örneği sunulmuştur.


Today, packaging design has a great importance in the field of consumer goods, which is a highly competitive and large market. It is a promotional element that reflects the identity of the product with the form, the material and usage of graphic elements on the packaging. The communicative dimension of the packaging affects consumers' feelings and purchasing behavior. Packaging affects the consumer perception with the aspects of attracking attention and communication. Therefore, packaging can be considered as a promotional tool in the retail industry. In addition to maintain the physical properties of the product until it reaches the consumer, it performs silent sales duty by attracting attention in the retail environment in accordance with contemporary shopping habits. The packaging, which directly affects the marketing of the product with this feature, enables the user to use the “functional” dimension with the transportation, storage and consumer. With this feature, packaging directly affects the marketing of the product. On the other hand, the functional aspect of the packaging enables transport, storage and use by the consumer. The functionality of the packaging continues not only until the product reaches the consumer, but also after the consumer purchase the product. The product is in contact with the packaging during transportation, opening, closing, handling and disposal. Functional packaging designs can make this whole process more usable, effective and even enjoyable. Thus, the image of the product in the mind of the consumer is effective in the next purchase decision. In modern society, people have to work and live faster every day, so they seek speed and comfort in their daily lives. In this process, ease of use and functionality aspects of consumer goods packages play an important role. In this study; the importance of functionality in packaging design of consumer products is emphasized and an example of functional tin packaging is presented.