Graphic Design Solutions is the most comprehensive, how-to reference on graphic design and typography. Covering print and interactive media, this book examines conceiving, visualizing and composing solutions to design problems, such as branding, logos, web design, posters, book covers, advertising, and more. Excellent illustrations of historical, modern and contemporary design are integrated throughout. The Fifth Edition includes expanded and updated coverage of screen media, including mobile, tablet, desktop web, and motion as well as new interviews, showcases, and case studies; new diagrams and illustrations; a broader investigation of creativity and concept generation; visualization and color; and an updated timeline. Accompanying this edition, CourseMate with eBook brings concepts to life with projects, videos of designers in the field, and portfolio-building tools. Additional online-only chapters—Chapters 14 through 16--are available in PDF format on the student and instructor resource sites for this title, accessed via CengageBrain.com; search for this book, then click on the "Free Materials" tab. - See more at: http://www.cengage.com/search/productOverview.do?Ntt=landa|9460636317858079131086649398128643252&N=16&Ntk=APG%7CP_EPI&Ntx=mode+matchallpartial#sthash.t2yoauCp.dpuf

... Most experts claim that logos create a visual link between the organization and the ideologies, philosophies that drive their existence and operations. For instance, Landa (2006) believes that a logo is a distinctive identifying symbol that expresses values and attributes of a brand and it provides immediate recognition for organizations. A logo in a television ident is as a badge of identification and mark of programme ownership (Hynes, 2009). ...

... Typography is the art of designing and arranging letterforms to communicate both verbal and visual messages. According to Landa (2006), type is a communicative visual element that operates both at denotative and connotative levels. Similarly, every typeface has unique characteristics in terms of form and construction. ...

... Therefore in designing television idents, Krasner (2008) again asserts that the target audiences should be seriously considered as early as possible so that the content (message or theme) can be aligned to the nature and the behaviour of the targeted audience. Similarly, Landa (2006) also suggests that the relevance of content should be assessed before the start of any design venture. This implies that the content of any communication design must be relevant in the sense that it must contain elements that can communicate to a particular audience. ...

  • Ayu Nyarko Ayu Nyarko

TV Idents are short videos or animated sequence of about 3-7 seconds that are played in between programmes to identify, promote and advertise a TV channel to its audience. This communication tool has become increasingly important the Ghanaian television landscape in recent times. A close observation of Ghanaian television Idents from both experts and laymen point of view suggest that the visual elements do not reflect channel philosophy. Besides, the design structure and aesthetic contents seem to lack the expected commensurability with the core philosophies of television channels in Ghana. The aim for this study was to investigate the extent to which TV Idents express the brand philosophies of GTV, TV3 and UTV. The study was conceptualized under the interpretivist worldview of research and therefore takes the disposition that knowledge, truth and reality regarding the construction and deconstruction of meanings through television Idents are subjective. In view of this, the qualitative research approach was employed to investigate motives, meanings, reasons, and other subjective experiences of television channels, visual communicators and audiences regarding the use television idents as a means of communication. Using the purposive sampling technique, the researcher sampled GTV, TV3 and UTV, which form the three top television channels out of the accessible population of 21 free-to -air television channels in Ghana. Data was collected through interviews, questionnaires and semiotic analysis. Findings indicate that, though the selected channels are deeply steeped in philosophies, there is a disconnection between the visual elements, design structure and the philosophical underpinnings of the selected channels. Rather than visually explaining their philosophies, television channels rely solely on their slogans. Again, the study discovered that the pattern of meanings from the television idents do not commensurate with their philosophical underpinnings. The researcher recommends that GTV, TV3 and UTV could improve on their Ident by expressing their core philosophies through visuals that simply explain their core philosophies rather than relying solely on slogan to communicate their core philosophies. Television channels should develop brand manual to guide designers in communications.

... Although not transparent or universally understood, visual design depends on various design elements and principles. These are applied in all art disciplines [3], such as painting, drawing, sculpture and photography [4]; in craft disciplines, such as ceramics, textiles and glass; in applied design fields, such as graphical design [5,6,7,8] and industrial design; and in environmental design disciplines, such as architecture [9], interior design, landscape design [10] and urban planning. Design elements and principles are used for two-dimensional surfaces (as in graphical design), or threedimensional forms (as in architecture). ...

... The logical procedures that use design elements (e.g. points, lines, planes and attributes like color, size and shape) to establish a perceptual framework for visual processing [13] are known as visual design principles (VDP). They include harmony, unity, balance, rhythm, emphasis, proportion, contrast, movement, and repetition [6]. Similarly, the perceptual organization of the small parts into wholes is defined by a series of rules -a set of Gestalt principles-such as similarity, proximity, continuation, closure, and figure and ground [7]. ...

... This trust in the objective validity of the artistic statement supplied a badly needed antidote to the nightmare of unbounded subjectivism and relativism" (p. 6). This leads the way to more objective interpretations of art. ...

Visual design is associated with the use of some basic design elements and principles. Those are applied by the designers in the various disciplines for aesthetic purposes, relying on an intuitive and subjective process. Thus, numerical analysis of design visuals and disclosure of the aesthetic value embedded in them are considered as hard. However, it has become possible with emerging artificial intelligence technologies. This research aims at a neural network model, which recognizes and classifies the design principles over different domains. The domains include artwork produced since the late 20th century; professional photos; and facade pictures of contemporary buildings. The data collection and curation processes, including the production of computationally-based synthetic dataset, is genuine. The proposed model learns from the knowledge of myriads of original designs, by capturing the underlying shared patterns. It is expected to consolidate design processes by providing an aesthetic evaluation of the visual compositions with objectivity.

... Although not transparent or universally understood, visual design depends on various design elements and principles. These are applied in all art disciplines [3], such as painting, drawing, sculpture and photography [4]; in craft disciplines, such as ceramics, textiles and glass; in applied design fields, such as graphical design [5,6,7,8] and industrial design; and in environmental design disciplines, such as architecture [9], interior design, landscape design [10] and urban planning. Design elements and principles are used for two-dimensional surfaces (as in graphical design), or threedimensional forms (as in architecture). ...

... The logical procedures that use design elements (e.g. points, lines, planes and attributes like color, size and shape) to establish a perceptual framework for visual processing [13] are known as visual design principles (VDP). They include harmony, unity, balance, rhythm, emphasis, proportion, contrast, movement, and repetition [6]. Similarly, the perceptual organization of the small parts into wholes is defined by a series of rules -a set of Gestalt principles-such as similarity, proximity, continuation, closure, and figure and ground [7]. ...

... This trust in the objective validity of the artistic statement supplied a badly needed antidote to the nightmare of unbounded subjectivism and relativism" (p. 6). This leads the way to more objective interpretations of art. ...

Visual design is associated with the use of some basic design elements and principles. Those are applied by the designers in the various disciplines for aesthetic purposes, relying on an intuitive and subjective process. Thus, numerical analysis of design visuals and disclosure of the aesthetic value embedded in them are considered as hard. However, it has become possible with emerging artificial intelligence technologies. This research aims at a neural network model, which recognizes and classifies the design principles over different domains. The domains include artwork produced since the late 20th century; professional photos; and facade pictures of contemporary buildings. The data collection and curation processes, including the production of computationally-based synthetic dataset, is genuine. The proposed model learns from the knowledge of myriads of original designs, by capturing the underlying shared patterns. It is expected to consolidate design processes by providing an aesthetic evaluation of the visual compositions with objectivity.

... The summary of 10 key elements of app icon design as below: 1) Recognizable is the ability to be recognized or identified from previous knowledge [45]. People will understand icon that used familiar images [9]. High identification accuracy of icon yields better search performance [4]. ...

... Use exciting contrast colour contrast [11], [36] and warm colour [25] graphic to connect event group and important action [31]. Select colour for influence, legibility, meaning, storytelling and environment [9]. Unified design thru effectual design principles, colour palette and flexibility concern for an effective icon set [20]. ...

... 6) Shape is the exterior appearance of something [45]. By illustrating the shape of object to will allow user to identify and interpret the icon instantly [9], [18]. The open border shape will enhanced recognition and icon favourite [29]. ...

... Sebuah identitas visual adalah proyeksi sebuah identitas dalam bentuk visual, seperti dalam logo, dan juga medium-medium visual lainnya (Landa, 2011). Perancangan untuk sebuah identitas visual dapat dimulai dari membuat logo, namun tidak berhenti sampai logo saja (Budelmann, Kim, & Wozniak, 2010). ...

... Gaya gambar naturalistic adalah gaya gambar dengan warna atau tone (menggunakan gelap terang cahaya) untuk mendapatkan gambar di mana objeknya tampak seperti apa yang dipersepsikan di alam. Penggambaran representational adalah pengggambaran yang mereplika objek sesuai dengan apa yang dilihat di alam, dengan demikian audien langsung dapat mengenali gambar tersebut sebagai apa (Landa, 2011 ...

  • Brian Alvin Hananto Brian Alvin Hananto

p> Abstract The Implementation of Korean Culture in Mireokki's Visual Identity Design. Globalization made Indonesia exposed to other nation's cultures. One of the mainstream cultures that are being exposed to Indonesian peoples is the popular culture of Korea. From foods, music, films, lifestyles and also design artifacts from Korea can be found here in Indonesia. One of Korean's food that is widely favored in Indonesia is tteokbokkis, in which tteokbokki became the basis for food innovation development conducted by Stefani Octavia from the department of Food Technology, Universitas Pelita Harapan. On a collaborative work held by the Department of Food Technology and the Department of Visual Communication Design, there is a visual identity design made by Shella Subagia towards the product developed by Octavia, called "Mireokki". Using qualitative design methods, Subagia succeeded in designing a logo, packaging, digital promotion media and brand activation which incorporates visuals from the Korean culture. This article contains the research and assessment that the author had done on the design works made by Subagia. The conclusion is that the form implementation of external contexts can be performed when the designer had the basic ability to create a design that is coherent and also united. Abstrak Implementasi Budaya Korea pada Perancangan Identitas Visual "Mireokki". Globalisasi membuat kita semakin terekspos dengan budaya-budaya luar. Salah satu bentuk budaya populer yang tengah dikonsumsi masyarakat Indonesia adalah budaya Korea. Mulai dari makanan, musik, film, gaya hidup sampai artefak-artefak desain dari Korea banyak ditemukan di Indonesia. Salah satu makanan Korea yang tengah digemari di Indonesia adalah tteokbokki. Jenis makanan tersebut menjadi referensi dari pengembangan makanan dan inovasi yang dilakukan oleh Stefani Octavia dari program studi Teknologi Pangan Universitas Pelita Harapan. Pengembangan dilakukan dalam rangka kerjasama antara program studi Teknologi Pangan dan Desain Komunikasi Visual, melalui perancangan identitas visual oleh Shella Subagia terhadap produk inovasi Octavia yang bernama "Mireokki". Dengan menggunakan metode perancangan kualitatif, Subagia berhasil menggagas perancangan logo, kemasan, media digital promosi dan juga brand activation yang mengimplementasikan karakter visual dari budaya Korea. Tulisan ini berisi penelitian dan penilaian kritis terhadap proses perancangan yang dilakukan oleh Subagia. Simpulan yang dihasilkan bahwa implementasi rupa dari konteks eksternal dapat dilakukan selama desainer memiliki kemampuan dasar untuk menggagas desain yang koheren dan menyatu.</p

... Sehingga perlu adanya sebuah identitas sebagai tanda pembeda dari berbagai merek dengan layanan yang sama. Banyak perusahaan berusaha untuk menanamkan identitas perusahaan mereka (Sukkar and Hasan 2005) dengan makna simbolis yang unik untuk membantu konsumen mengidentifikasi perusahaan mereka di pasar yang ramai dan membentuk gambar yang mereka kaitkan dengan identitas tersebut (Argenti 2007;Landa 2005;Roy and Banerjee 2014;Wheeler 2006). Identitas merek adalah saluran komunikasi yang berpotensi efektif yang dapat memainkan peran dalam mencapai manajemen merek yang sukses dengan konsumen (Roy and Banerjee 2014). ...

... Untuk itu diperlukan sebuah elemen dasar dalam desain. Menurut Landa (2005), elemen-elemen desain terdiri dari: 1. Garis (Line) merupakan sebuah tanda yang dibentuk oleh dua titik atau lebih melalui sebuah permukaan. Berdasarkan tipe, garis dapat dibagi menjadi garis lurus, garis melengkung dan garis bersiku. ...

Pembentukan identitas dalam bentuk logo sebagai salah satu alat komunikasi yang digunakan dalam menyampaikan visi dan misi perusahaan ke depan. Analisis perubahan logo perusahaan Gojek ini diharapkan bisa menambah wawasan mengenai pentingnya sebuah desain logo untuk menggambarkan citra perusahaan dan juga menarik perhatian masyarakat. Perubahan logo yang dilakukan oleh perusahaan Gojek ini didasari adanya pengembangan pelayanan yang ditawarkan sehingga harus disertai dengan perubahan desain logo baru. Desain logo yang baik dapat mewakili perusahaan dan juga mudah diingat oleh publik. Penelitian ini menggunakan desain penelitian studi kasus, dimana penelitian ini bersifat eksplanatoris dimana data diinterpretasikan oleh peneliti dan diolah melalui pengamatan, pencatatan, sesuai dengan kategori yang dipakai berdasarkan metode analisis dengan menggunakan dasar teori segitiga makna Peirce. Perubahan desain logo yang dilakukan karena adanya perubahan pada pelayanan dan jasa yang ditawarkan oleh Gojek kepada penggunanya. Gojek mulai memperluas layanan sehingga perlu mengubah logo agar sesuai dengan citra perusahaannya yang baru. Dari hasil analisis, tampilan desain logo Gojek yang baru bersifat universal, longlasting, memorable, fleksibel, unik, dan sederhana.

... According to [5] research, the programs on Information Communication Technology (ICT) like web design, animation and multimedia aplication have attracted many deaf students. All these programs are part of graphic design program fields [6]. Even though Malaysia have some higher education institutions that offer graphic design programs, but the special learning approach for the deaf students is still less. ...

... Mastery of these aspects are relevant to produce competant graphic designers. However, this requires practices to ensure their cognitive functions accurately [6], [8]. Therefore, deaf students required different learning approach compared to normal students. ...

... Hierarchy dictates how a viewer will navigate a page visually and understand what information is primary, secondary, and tertiary (Landa, 2014). Typically, the designer chooses what will be the focal point of the content, after which the developer applies design properties that emphasize the focal point, simultaneously using subordination techniques to the surrounding objects. ...

... The choice of color is not only one of the most subjective choices, but also one of the most destructive. Landa (2014) states that the designer has two challenging responsibilities for any given design solu-tion: selecting color and composing color. There is some truth to Landa's logic. ...

There is an abundant amount of literature on visual design principles, graphic design theory, and media theory. Yet very little is discussed, at least in a systematic way, about the process of making online courses aesthetically pleasing. A major obstacle to gaining such knowledge is the lack of understanding of applied definitions, conceptual ideas, and methods of creating online learning interfaces. In this chapter, the authors seek to clarify the process of using visual design to improve the online learning experience. The chapter concludes with strategies on how colleges and universities can help faculty and instructional designers learn visual design skills through the creation of a design studio.

... Message design is usually used for advertising an industrial or an artistic product or a service. Sender convects cognitive and affective messages to the receiver (Ambrose & Harris, 2011;Becer, 1997;Bowers, 1999;Koren & Meckler, 1989;Landa, 1996). There are two fundamental elements in graphic design. ...

  • Touradj Fashandaki Touradj Fashandaki
  • Gülgün Alpan

In this manuscript, the reflection of typographic expression training methods such as integration, resolution, transposition, disintegration, and lettering on students' design and learning processes was strived to be analyzed. Qualitative and quantitative research methods were used altogether. The study group comprised of senior year Azad University Graphic and Architecture Faculty Visual Communication and Art students (10) who took the "Project Appliance" course. The group consists of volunteering students with elementary typography knowledge and typography skills who have not previously brought out creative, original, and new typography works. Students have designed posters as products before and after the training of typographic expression ways, respectively. Three experts graded the posters using a scoring rubric and answer key prepared by analysts. Evaluation results were analyzed with Wilcoxon Signed-Rank Test. A semi-structured interview was conducted after the training, and the data obtained were resolved by content analysis. By the research results, the products of students who have participated in the education of expression methods in typography were successful. Students have expressed to have progressed both professionally and personally. Themes such as creativity, feeling well, self-confidence, satisfaction appeared in content analysis consisting of interview notes.

... A few studies (Ambrose & Harris, 2006;Barth, 2008, Rabinowitz, 2006 also stress the importance of layout and the features of the text on comprehending the meaning of the content. The readability of text is dictated by spaces, font size and font type (Landa, 2011). ...

... According to a study conducted by Zaharudin, Nordin, and Mohd Yasin (2011), a field that involves information communication technology (ICT) such as website design, animation, and multimedia application design was highly demanded by deaf students. Landa (2006) explains that website design, animation, and multimedia application design are branches of graphic design. Although deaf students have a high tendency to study graphic design, there are some constraints faced. ...

  • Zainuddin Ibrahim Zainuddin Ibrahim
  • Norlidah Alias
  • Abu Bakar Nordin

The field of Information Communication Technology has offered a promising future for deaf students. Web design, animation, and multimedia application design are a branch of graphic design area, which aim to aid their learning visually. However, most of the technical terms cannot be interpreted in Malaysian sign language. Moreover, the development of the existing curriculum is not geared in catering needs of deaf students and not tailored to their learning styles. With the development of technology, learning for deaf students could be improved. However, previous studies only focused on language development and there is meager research on curriculum development and teaching in the field of graphic design. Therefore, this study was designed to obtain the views of students on the learning needs of graphic design module based on technology and learning styles of deaf students. Questionnaires were distributed to 58 students in special education schools and vocational colleges in Malaysia who majored in graphic design. Descriptive analysis of the data indicated that there is a need for a learning module and the reasons include difficulties in learning animation, different learning styles, communication of sign language in learning, and the efficacy of technology in aiding teaching deaf students.

... Grafik tasarımın işlevleri ile ilgili olarak, güçlü bir tasarımın birçok olayları ikna edebileceğini, tanımlayabileceği, motive edebileceğini, geliştirebileceği ve markalaştıracağı anlamına geldiği ifade edilmektedir (Landa, 2011). Grafik tasarımın işlevlerini ikiye ayırabiliriz. ...

... The research method used is from Robin Landa [6] in his book titled "Design Solution" which divided the design ...

... Rather, it is a widely-used working map for professional graphic designers to direct their practices through their projects in order to reach the targeted solutions. The majority of graphic design practitioners tend to understand the graphic design process as the fundamental requirement and a how-to guide to successful design for working in the profession (Ambrose & Harris 2009;Landa 2014;Newark 2007;Shaughnessy 2010). Thus, graphic design practitioners are able to adapt the graphic design process in their practices but may not necessarily theoretically identify it. ...

  • Khemmiga Teerapong Khemmiga Teerapong

This paper investigates the ways in which graphic design practice can be seen as an emerging design methodology. This is in the context of differentiating between the use of visuals in research methodology across academic disciplines and graphic design as a process of inquiry. As graphic design as an academic field is still in its infancy, there are still questions about its methodological application. This may resonate with graphic design practitioners interested in conducting research. To answer the question of how graphic design can be employed as a research strategy, it is important to understand what it is that distinguishes it from visual research. As both research strategies employ visuals, the scope of this paper is to examine the possibilities of graphical ways of researching in these two areas. From a review of a number of research studies that used visual materials as part of the research methodology, this paper suggests the key differentiation is the interpretation of graphic design that both visual products and the design process are equally important. In this paper, I argue that the core understanding of graphic design research is not only the use of visuals but it is also the process that contributes to new knowledge and connects to the academic world. The paper begins with definitions of graphic design, its functions and processes, followed by the positioning of graphic design in research methodology and a discussion on graphic design research and visual research. This paper concludes by suggesting that graphic designers can use their practice as a research strategy and this would offer a greater future for graphic design to be accepted as a discipline with its own design methodology.

... Dampak perkembangan perangkat (device) dewasa ini berimbas pada desain website agar dapat memenuhi kebutuhan pengguna. Orang ingin mengakses perusahaan dan organisasi dari berbagai macam perangkat termasuk komputer desktop (Landa, 2006). Hal ini akan mempengaruhi proses desain yang sesuai dengan prinsip-prinsip web design agar terlihat bagus dan mampu memberikan pengalaman berbeda bagi pengunjung website tersebut. ...

  • Heri Kuswanto

Kajian ini bertujuan untuk mengetahui prinsip-prinsip desain web yang menarik berdasarkan buku "The Principle of The Beatiful Website Design (2nd edition) by Jason Beaird yang difokuskan pada prinsip Layout and Composition, sekaligus menjawab apakah perusahaan yang memiliki divisi IT menerapkan prinsip tersebut. Metode yang digunakan adalah pendekatan studi kasus, dengan tujuh variabel yakni web page anatomy, grid theory, balance, unity, emphasis, fresh trend dan resizing: fixed, fluid, or responsive layouts. Kajian dilakukan dengan menganalisis dan membandingkan dua buah website perusahaan nasional dengan hasil yang menunjukkan bahwa rancangan website lebih dipengaruhi oleh faktor pandangan dari sisi kegunaan dan estetika.

... For the designing process, the students use the "five phases of the graphic design process" as written in (Landa 2011), which are: Orientation → Analysis → Concepts → Design → Implementation. The methods from the book that are appropriate in a class setting are as follows: ...

  • Ellis Melini Ellis Melini

p>In visual communication design education, teachers strive to help students understand how to generate ideas in whatever form of graphics they are trying to create. This paper focuses on how we apply the concept of synesthesia in a visual composition, specifically in the form of a page layout comprising both text and images. This research is done in a class of second-year students majoring in graphic design in a visual communication design bachelor program. Students are given an assignment to create a multi-column layout and incorporate the synesthesia concept in their design. The result is quite interesting, with some artworks showing what can be considered as universal synesthetic experience for the viewers. The artworks are then evaluated and considered for future classroom exercises.</p

... However for this initial research project, a functional prototype system will be built (containing basic system requirements without the complication of Web technologies and a multi-user environment). Unfortunately, many graphical user interfaces (GUIs) that promote visual enhancements to otherwise textual displays are often boring (Landa, 2001), and lack inspiration; consequently they do not promote self-confidence. The system prototype will need to range in sophistication, ensuring that at the top end of the system's tools, it will provide examples of an individual's working day. ...

Looking for work is complex. It involves a synthesis of decisions relating to many separate job- seeking tasks, requiring discrimination of how an individual's skills match the job description, whether the salary offered is acceptable, location of the work and the logistics of arranging suit- able transport. These job-seeking tasks are even more difficult for the disabled, and despite the Web Access Initiative (WAI), there are no Web-enabled work searching systems designed as vo- cational rehabilitation tools. An opportunity exists among the educational technologists to devise a customizable learning platform that can supply a much needed life-long learning resource. It is becoming increasingly obvious that a range of computer supported collaborative learning (CSCL) systems may provide a ubiquitous approach to fulfilling the desire for reskilling the general popu- lation. This paper describes a research project in progress, designed to provide an interactive Web-enabled work searching resource for those undergoing vocational rehabilitation.

... As a conclusion the primitive forms of sleeves created for titling and protection only turned into tools of labeling, presenting and advertising surfaces for graphic design to organize. Graphic design as a two-dimensional design discipline organizes type and images according to the product's needs, usage and functions [2]. Graphic design serves to sectors like food industry, every kind of media, pharmaceutical industry, fashion and many others with its own elements shape these types and images under the guidance of its principles. ...

... The diagram of the research method conducted by the author can be seen in Figure 1. The design method for the typeface design for the students is based on adaptations of several design methodologies (Karjaluoto, 2013;Landa, 2011;Martin & Hanington, 2012) that were simplified and categorized into three phases (Hananto, Leoni, & Wong, 2020): ...

  • Brian Alvin Hananto Brian Alvin Hananto

Typefaces are a hallmark of human civilization, similar to other cultural artifacts. A typeface's visual properties may have the opportunity to express things other than what word or sentence the typeface is used to visualize. By having a typeface that adopts the visual properties of a cultural artifact, a typeface may be able to represent and create a cultural association towards a certain culture. To experiment on the possibilities of this notion, the author designs an experiment to test a design method with students from the Experimental Typography class on Universitas Pelita Harapan. The result was 18 typefaces that were designed within the class that tried to emulate certain visual characteristics of a cultural and vernacular artifact. For this paper, the author had selected three display typefaces to be discussed further on. From this study, the author concluded that the possibilities of the method used to designing a typeface based on visual cultural artifacts may have the potential to be used properly in a design project.

... The classification of design elements can be from nature, such as clouds, lightning, the ocean, flowers, people, and animals; from man-made items, such as a factory, buildings, equipment and transportation vehicles; from the arts, including dance, cartoons, paintings, sculptures, patterns and photographs; or from our daily lives, using all kinds of daily necessities such as electrical appliances, toys, stationery and furniture. The elements of design serve as a strong visual expression and have an inherent impact on the construction or reconstruction of dots, lines or areas and divisions, alongside the arrangement, layout and colour (Landa 2005;White 2011). ...

This paper examines the influence of national cultural attributes on locally produced designs (i.e. comics, animation, commercial advertisements, printed materials and graphics). Drawing from the inconsistent results of past literature on influences of national cultural attributes on design; it is considered an under-researched area of the important role of cultural values on designs, specifically in the Malaysia context, in which cultural differences among different ethnic groups exist. Because of the paucity of research in this area, this study adopted a quantitative research approach with results derived from the content-analysis of 18 Malaysian designs using a visual preference survey by six experts from the design industry in Malaysia. This study incorporates two stages of sample screenings of a visual preference survey with brief interviews; results show that Malaysian designs need to adhere strictly to requirements and specifications set by the Malaysian authorities; incorporation of Islamic values and code of conduct to reflect the racial harmony and national ideology; and some unique characteristics of the respective ethnic groups in Malaysia were not upheld, thus, they gradually disappeared and/or were blended in the designs. The results and discussion from this study extend the literature on Malaysian design and provide practical implications on how local design industries could produce designs which abide by the boundaries of a Malaysian pluralistic society.

... Despite the current virtual world of science and technology, poster has been used extensively around the world especially in healthcare (Bu & Fee, 2010). Poster was interpreted as a singlepage format, used to deliver information, data, schedules or offerings to persuade and promote (Landa, 2010). Covert (2012) considered that poster is 'a paper' that contained graphic images and texts to convey information. ...

... The classification of design elements can be from nature, such as clouds, lightning, the ocean, flowers, people, and animals; from man-made items, such as a factory, buildings, equipment and transportation vehicles; from the arts, including dance, cartoons, paintings, sculptures, patterns and photographs; or from our daily lives, using all kinds of daily necessities such as electrical appliances, toys, stationery and furniture. The elements of design serve as a strong visual expression and have an inherent impact on the construction or reconstruction of dots, lines or areas and divisions, alongside the arrangement, layout and colour (Landa 2005; White 2011). ...

  • Minako McCarthy Minako McCarthy

Kimono (a traditional Japanese garment worn by women) has played an important role in Japanese indigenous cultural origins. Ecological and sustainable ideas have inherently existed in kimono culture within this lifestyle. Since the United Nations announced the Sustainable Development Goals (SDGs) in 2015, the Japanese government has focused on creating healthy spaces with a sustainable direction in mind. However, textile-related product recycling rates were relatively low in Japan at the time. This empirical study used SDGs as a conceptual framework to examine Japanese college students' perceptions of kimono upcycling practices and challenges. A mixed method was used to analyze the data. An open-ended questionnaire was distributed to college students in June 2019 in Liberal Arts at a national women's university (n=155). The findings showed that interest in kimono upcycling moderately correlated to those and an interest in western garments upcycling (.578; p<.01). The relationship between these variables was significant (Chi-square: 48.471; p <.001). In the qualitative analysis, a coding method was used to explore common themes of students' awareness and knowledge of upcycling kimono practices and found four strong themes to be present. The students perceived that upcycled kimono items connected to preserving family memories, whereas others noted upcycled items were used for sustainable resources. Also, three common challenges were found: practicality, technical issues, and people's awareness. Some students also associated items with Japanese cultural preservation. College students' attitudes and perceptions towards cultural sustainability engagement could therefore be a crucial mediator during sustainable development drives.

Reading on the World Wide Web has become a daily habit nowadays. This can be seen from the perspective of changes on readers' tendency to be more interested in materials from the internet, than the printed media. Taking these developments into account, it is important for web-based instructional designers to choose the appropriate font, especially for long blocks of text, in order to enhance the level of students' readability. Accordingly, this study aims to evaluate the effects of serif and san serif font in the category of screen fonts and print fonts, in terms of Malay text readability on websites. For this purpose, four fonts were selected, namely Georgia (serif) and Verdana (san serif) for the first respondents and Times New Roman (serif) and Arial (san serif) for the second respondents. Georgia and Verdana were designed for computer screens display. Meanwhile, Times New Roman and Arial were originally designed for print media. Readability test on a computer screen was conducted on 48 undergraduates. Overall, the results showed that there was no significant difference between the redability of serif and san serif font of both screen display category and print display category. Accordingly, the research findings and the literature overview, suggest that Verdana and followed by Georgia as the better choice in displaying long text on websites. Likewise, as anticipated, Times New Roman and Arial fonts provide good readability for print media, which reinfoces their status as the printing font category. However, with the current computer screen capability, it can still be an alternative option for instructional web developers.

  • Mahmoud Abushawali Mahmoud Abushawali

This study aimed to explore the required competencies for print graphic designers to transition into digital media design in Jordan. Qualitative and quantitative methods were used in this study to achieve the research objectives. Interviews with academics and practitioners in the digital media design field were conducted and then a modified Delphi method was used to obtain consensus and validation from a panel of experts on the significant competencies for practising digital media design. Later, a self-assessment questionnaire was used to determine the needed competencies for print graphic designers to transition into digital media design.

  • Julian Lin

Principles of design have been widely applied by practitioners such as photographers, artists, architects, designers, and others for many years. This paper examines whether the principles advocated by practitioners systematically and reliably influence perceived aesthetics and perceived ease of use constructs that are important for the evaluation of websites. To examine these relationships, the paper offers an operational definition, develops and validates a measurement tool for assessing the principles. To provide a comprehensive and broad definition of the principles, over 20 books written by practitioners were reviewed and more than 100 questionnaire items were extracted. These items were further refined through two rounds of content analysis using emergent and a priori coding with 10 judges and 2 experts. The remaining items from the two rounds of coding were examined using surveys. Exploratory and confirmatory factor analyses were performed. The results show that the items under 6 constructs have adequate convergent and discriminant validity. Lastly, a field study testing effects of the principles on perceived ease of use and aesthetics was conducted. The results show that principles of design predict perceived ease of use better than perceived aesthetics. Implications for practice and research are discussed.

  • Marcin Gębarowski Marcin Gębarowski

Image is one of key elements which determines whether contemporary market entities achieve a competitive advantage. This is also true in case of universities which compete with each other – mainly to attract students. The image of a university in its environment is to a large extent determined by consistent application of the system of visual identity, which includes recommendations concerning the functioning of an organization in the sphere of markers (symbolism). The basic goal of this article is to define the factors conditioning the efficient utilization of such systems by universities. Exemplification of the process of planning and implementing solutions from the area of visual identity was carried out on the basis of Rzeszow University of Technology. Reference was also made to the effects of functioning of the system of visual identity of the university from Podkarpacie region through the investigation of the students' awareness of the existence of a standardized structure of markers and the perception of current utilization of its elements. In the supplement a division of universities in Poland, according to the scope of held systems of visual identity was carried out.

There are online articles, with visual materials, stating that some post-1998 Indonesian film posters were accused as plagiarism by common people. However, academically speaking, it needs deeper skills and knowledge to prove acts of plagiarism. This paper will discuss the issues around Indonesian film posters and plagiarism, including the possibility of citing in graphic design. The research will treat film posters not only as marketing tools to promote the movies, as many people consider, but also as graphic design materials. Some terms such as appropriation, homage, and pastiche will be discussed to analyze the phenomenon.

  • Bruce Cadle Bruce Cadle

The diverse tautology applied to "graphic design" means different things depending on the perspective from which it is viewed and has become the topic for much debate in recent times. This is of particular relevance to the tertiary educational arena in South Africa, where universities (including Nelson Mandela Metropolitan University (NMMU) which provides the context for this paper) are faced with the dual spectres of programme re-curriculation and Higher Education Qualifications Framework (HEQF) 1 level compliancy in the near future and graphic design programmes will have to reconsider their relevance in a changing/changed educational and business paradigm. Determining what graphic design is and reflecting on its role in society is a critical aspect of this imminent, and important process. This paper will attempt to define the "new model" graphic designer by identifying the qualities, skills, values, content and contexts that best describe the practice and the practitioner; as this should also inform educational best practice, and will present a list of values and characteristics that embody the essence of graphic design for the 21st century. These characteristics can then become the basis for the development or evaluation of a best practice curriculum that is credible, relevant and vital for the future. The author contends that responding to the "definition" will allow teaching and learning to become more relevant as the designer"s identity is clarified, a broader world view is encouraged and curricula evolve to accommodate the present and future realities of graphic design communication.

  • Marcin Gębarowski Marcin Gębarowski

Image is one of key elements which determines whether contemporary market entities achieve a competitive advantage. This is also true in case of universities which compete with each other - mainly to attract students. The image of a university in its environment is to a large extent determined by consistent application of the system of visual identity, which includes recommendations concerning the functioning of an organization in the sphere of markers (symbolism). The basic goal of this article is to define the factors conditioning the efficient utilization of such systems by universities. Exemplification of the process of planning and implementing solutions from the area of visual identity was carried out on the basis of Rzeszow University of Technology. Reference was also made to the effects of functioning of the system of visual identity of the university from Podkarpacie region through the investigation of the students' awareness of the existence of a standardized structure of markers and the perception of current utilization of its elements. In the supplement a division of universities in Poland, according to the scope of held systems of visual identity was carried out.

  • Sapitri Januariyansah Sapitri Januariyansah

Logo sangat banyak digunakan di masa sekarang. Logo dapat mempresentasikan nilai dan visi dari yang menggunakannya. Penggunaan logo yang efektif dan efisien menjadi landasan awal untuk tujuan dari logo itu sendiri. Agar dapat menjadikan logo sebagai media visual yang tepat diperlukan teori-teori yang tepat untuk membuat logo tersendiri. Pembahasan tentang logo yang baik dapat membantu para pengguna logo untuk mendesain logo secara efektif dan efisien. Paper ini merupakan kajian pustaka tentang penggunaan logo yang benar. Terdapat tiga jenis logo yang dijadikan sampel yaitu logo Pos Indonesia, Bank Mandiri, dan Ades. Pada ketiga jenis logo tersebut telah mencakup beberapa prinsip dan elemen dari cara mendesain yang baik. Ketiga logo tersebut dapat mempresentasikan nilai dan visi dari jenis perusahaan yang digunakan.

  • Zixuan Han
  • Lingqi Wang
  • Jiangyue Zhang
  • Mengjun Kang Mengjun Kang

Public health emergencies always lead to serious consequences which affect a lot on human health and socioeconomic progress. It is essential that governments and regional health commissions guide the public toward self-protection and better arranged social production during epidemic outbreaks and spreads. According to the need of risk communication and information disclosure, existing studies for COVID-19 maps and visualization applications are conducive to predicting the future trend of the pandemic, mitigating the harmful effect on public wellbeing by leading to effective intervention and policy measures. However, unsettled tasks remain on comprehensive organization of risk information, effective expression of data for public requirement, and systematic theoretical framework as a standard of map design for public health emergencies. To close the research gaps, this paper proposes a conceptual framework with a three-dimensional spatiotemporal-logic structure as a theoretical foundation for map thematic content selection, which is also a good basis for determining the effective visualization approaches of map design. It enhances the validity and legibility of the map expression by leading maps' thematic content couple with features and processes of an epidemic. Then, using the COVID-19 outbreak in Shenzhen, China, as an example, this paper illustrates how to apply the conceptual framework for selecting the thematic content of COVID-19 maps, and explains the specific ways to transform epidemic data into objects for cartographic representation with proper principles and modes. To our knowledge, this paper is the very first study to bring the thematic content of maps for public health emergencies to the fore, and it is thus believed to shed fresh lights into thematic map design.

  • Penny Ralston-Berg Penny Ralston-Berg
  • Heather Braatz

This article examines the design structure and interface of online courses and explains how program‐wide design standards can benefit the learner, educator, and organization as a whole. Standards in program design can help support learner success, and these examples serve as a guide when designing, updating, or improving online adult and continuing education courses.

  • Anita Karunia
  • Alimuddin Alimuddin
  • Nurabdiansyah Nurabdiansyah Nurabdiansyah Nurabdiansyah

Perancangan ini bertujuan untuk menciptakan identitas visual baru yang menarik, konsisten dan sesuai dengan citra yang ingin dibangun Teluk Youtefa sebagai salah satu cara dalam pengembangan destinasi wisata di Kota Jayapura serta diterapkan pada graphic standard manual, stationery, dan gifts/merchandise agar dapat digunakan sebagai media identifikasi media promosi wisata. Data yang digali dalam penelitian ini mencakup teori desain terkait merancang logo serta teori warna, tipografi, brand, branding, identitas visual, brand awareness, serta data teluk youtefa berupa pedoman wawancara dan pedoman observasi. Data diperoleh diteliti menggunakan metode kualitatif, analisis SWOT, dan analisis STP. Logo dari Teluk Youtefa menampilkan visualisasi yang memperkenalkan nilai budaya dan keindahan alam kepada para wisatawannya, oleh karena itu identitas visual di desain agar memiliki kesan menyenangkan, dan tidak terlepas dari unsur alam dan budaya suku tobati dan enggros. Hasil perancangan identitas visual ini adalah logo dengan menggunakan media utama berupaGraphic Standard manual sebagai buku panduan yang berisi aturan serta penggunaan identitas visual Youtefa dan mencakup logo, warna dan tipografi, juga penerapannya pada media. Logo dari hasil Perancangan Identitas Visual Kawasan Teluk Youtefa kemudian diaplikasikan ke dalam media pendukung sebagai media promosi, media komunikasi pendukung terdiri dari Stationary dan Gift/ Merchandise.

  • Evin Eriş Evin Eriş
  • Meltem AĞAN

Bu çalışmanın amacı, geçmişten günümüze düzenlenmiş tasarım yarışmalarının iç mimarlık mesleğindeki yerini sorgulayarak yarışma kültürü ve disiplin arasındaki bağlantıyı incelemektir. Çalışmanın iç mimarlık alanına odaklanmasının nedeni, geçmişte ve halihazırda süregelen mimarlık-iç mimarlık ikiliğinin varlığında iç mimarlığın günümüzde değişen rolüne dikkat çekmek ve 'demokratik' bir söz söyleme, üretim alanı olan yarışmaların bu alandaki durumuna bakmaktır. Diğer bir deyişle çalışma, içinde bulunduğumuz koşullarda mesleki sınırların ve rollerin muğlaklaştığı, dolayısıyla genel algının da bu değişim ile yeniden üretildiği düzende tekrar düşünülmesi gerektiği mekanizmalara dikkat çeker. İki aşamalı olarak kurgulanan çalışmanın ilk bölümünde yarışmaların tarihsel süreçte gelişimi ve eğitimdeki yeri hakkında literatür çalışmasına yer verilmesi, ikinci bölümde ise Türkiye'de iç mimarlık alanının katılım koşulunu sağladığı yarışmaların dökümünün yapılarak niceliksel verilerinin ortaya konması ve bu yarışmaların amaçlarına göre sınıflandırması niteliksel yöntemler ile yapılarak mekân, mobilya, konsept, ürün, poster olmak üzere beş kategoride incelenmesi hedeflenmiştir. Çalışmada yer alan yarışma verileri, tasarım yarışmalarının ilan edildiği "Arkitera, Mimarist, Issue, Mimarizm, Yarismo, Tasarım Yarismalari" web sitelerinden elde edilerek hem niceliksel hem de niteliksel araştırma yöntemleri kullanılarak tasnif edilmiş, analiz ve değerlendirmelere tabi tutulmuştur. Gerçekleştirilen incelemeler neticesinde; (i) İç mimarlık alanı özelinde Türkiye iç mekân tasarımı yarışmalar tarihine bakıldığında, her ne kadar Cumhuriyet sonrası dönemde yarışma yoluyla üretim yapılmaya başlansa da yarışma mekanizmasının alanda geleneksel hale gel(e)mediği ve sayıların milenyal döneme kadar oldukça az olduğu iddia edilebilir. (ii) İç mimarlık, mimarlık, endüstriyel tasarım ve ilgili tasarım disiplinleri çerçevesinden değerlendirildiğinde ise yarışmaların çoğunlukla mekân, sırası ile ürün, mobilya, konsept ve poster temalı yarışmaların takip ettiği gözlemlenmiştir. (iii)Yarışmaların çoğunlukla firmalar tarafından açıldığı, üniversiteler tarafından ve/veya üniversite işbirliğiyle açılan yarışmaların azınlıkta kaldığı görülmüştür. (iv) İç mimarlık bölümleri katılımına açık yarışmaların katılımcı profili incelendiğinde, öğrenci katılımının profesyonel katılımcılara kıyasla fazla olduğu görülmüştür. Tasarım eğitiminde etkin rol oynayan yarışmaların iç mimarlık disiplini özelinde yerleşmediği, tasarım disiplinlerinde yarışmaların yaygınlaşmanın ve çeşitlenmesinin gerekliliği, ağırlıklı olarak ticari kurumlar tarafından açıldığı tespit edilen yarışmaların üniversite-firma iş birliklerinin arttırılarak eğitimdeki teşvik edici rolünün arttırılmasına ihtiyaç olduğu görülmüştür. Çalışma bir durum değerlendirmesi niteliğinde olup, elde edilen bulguların 2021 yılı ve sonrası açılacak yarışma kurgularına, eğitim ve yarışma literatürüne katkı sağlayacağı düşünülmektedir.

  • Yaron Meron Yaron Meron

Graphic design has long been hampered by its indeterminate educational disciplinary status, resulting in it being subsumed within wider visual arts studies. Arguing that this permeates into professional practice, this article explores the ambivalence of professional graphic designers towards the term 'graphic design' itself. Drawing on interviews with practitioners and discussions in online graphic design forums, the article argues this ambivalence derives from perceptions that the term reduces the design capital held by graphic designers. In turn, this negatively influences the graphic designers' perceptions of professional relationships with creative stakeholders. Placing the study outcomes alongside existing academic literature, this article confirms anecdotal industry narratives about graphic designers' perceptions of their capital. Moreover, it identifies a series of nuances to these narratives, challenging stereotypical educational and industry assumptions. In doing so, it argues that practitioner ambivalence towards the term 'graphic design' is symptomatic of an academic gap, resulting from inadequate pedagogic engagement with the specific discipline and practice of graphic design. This poses challenges for practitioners, as well as for the organisations they work within, at the same time presenting opportunities for researchers to make further headway into the specific discipline and methods of graphic design.

Pedagogi desain adalah sebuah hal yang secara sadar atau tidak sadar terus menerus dibahas dalam pendidikan tinggi desain. Penulis melihat bahwa pengembangan pedagogi desain secara umum perlu menkonstruksi pemahaman metodologi desain dalam mahasiswa-mahasiswinya. Dalam rangka mengembangkan pembelajaran metodologi desain sendiri, penulis melakukan penelitian tindakan kelas dengan melakukan perancangan latihan identifikasi metodologi desain dengan tujuan untuk melihat apakah mahasiswa-mahasiswi mampu mengidentifikasi metodologi dari sebuah proyek desain. Salah satu studi kasus yang digunakan dalam latihan ini adalah simulasi perancangan ulang website TMII oleh Angelina Tanoto, yang kemudian dibahas dan diidentfiikasi metode-metode desain yang dilakukan oleh tim mahasiswi dalam mata kuliah Metodologi Desain pada Program Studi Desain Komunikasi Visual Universitas Pelita Harapan pada tahun akademik 2019/2020. Melalui latihan ini, didapati bahwa tim mahasiswi mampu mengidentifikasi bahkan memberikan masukan-masukan terhadap proyek desain Tanoto secara umum. Hasil studi sederhana ini mengindikasikan bahwa pemahaman metodologi desain memiliki kemungkinan untuk diajarkan dan dipelajari pada mahasiswa tingkat sarjana srata satu. Melalui tulisan ini, penulis ingin mereferensikan proses pembelajaran metodologi desain yang telah dilakukan dalam rangka pengembangan strategi pendidikan desain secara umum.

  • Brian Alvin Hananto Brian Alvin Hananto

p>Isu seputar keseimbangan visual dalam desain adalah hal yang seringkali disebut namun mungkin tidak banyak dibahas atau dipelajari dewasa ini. Hal ini terjadi karena masih adanya pandangan bahwa keseimbangan visual adalah suatu hal yang sederhana, yang dapat dicapai dengan mudah dan tanpa pertimbangan yang macam-macam. Selain sederhana, keseimbangan juga kerap dianggap sebagai hal yang sifatnya subyektif, dimana setiap orang memiliki opini tersendiri mengenai apakah sebuah desain itu seimbang atau tidak dan orang tersebut tidak perlu memberikan landasan atau argumentasi mengenai hal tersebut. Tulisan ini membahas sebuah latihan yang menghasilkan lima rancangan logotype yang dihasilkan dalam mata kuliah Tipografi Dasar dalam program studi Desain Komunikasi Visual di Universitas Pelita Harapan. Fokus utama pembahasan rancangan-rancangan tersebut adalah mengenai bagaimana kelima desain tersebut mencapai keseimbangan visual dan bagaimana kelima desain tersebut memperolehnya tanpa mengesampingkan fungsinya sebagai sebuah logotype yang dapat dibaca. Dengan demikian, tulisan ini berharap untuk dapat menjadi referensi bagaimana keseimbangan visual dapat dicapai secara obyektif melalui tipografi. Kata Kunci : Tipografi, Keseimbangan Visual, Logotype</p

The condition of coral reefs in several locations in Indonesia is indeed in critical condition and the impact of damage continues to grow every year. Sunscreen, which is one of the mandatory requirements used for skin protection to prevent sunburn, has dangerous substances oxybenzone and octinoxate, causing unconscious damage. Substances in sunscreens make coral reefs lose their adaptability to climate change which also damages coral reefs and prevents the growth of coral reefs. This topic is important because coral reefs have many ecological, social and economic influences and benefits that are very useful for life. Therefore, it is necessary to design a campaign that is made with the aim that this topic can increase awareness of campaign targets and readers with information that can be accounted for so that the risks of damage to coral reefs can be reduced. This design is carried out through the process of collecting data, formulating strategies, thinking ideas, designing visuals, and applying them to campaigns.

  • A Fine Hastuti Bandung A Fine Hastuti Bandung

Kata Kunci : freeform crochet, Hari Pangan Sedunia, minuman dingin khas Indonesia, produk fesyen Abstrak Peringatan Hari Pangan Sedunia di Indonesia diperingati rakyat Indonesia yang terlibat pembangunan ketahanan pangan. Pendekatan kriya dapat diambil partisipan HPS dengan mengenakan produk fesyen sesuai tema HPS untuk membuka pembicaraan terkait isu keanekaragaman pangan di situasi pandemi Covid-19. Setiap daerah di Indonesia memiliki kuliner khas, salah satunya minuman dingin. Produk fesyen yang dikenakan partisipan HPS dapat mengambil inspirasi beragam minuman dingin khas Indonesia. Teknik reka tekstil freeform crochet dapat digunakan pada produk fesyen dengan mengeksplorasi warna, siluet, bentuk dan komposisi minuman dingin khas Indonesia. Perancangan produk akhir karya tulis ini adalah produk fesyen berupa bawahan, gaun, luaran, atasan, dan aksesoris. Abstract Commemoration of World Food Day in Indonesia is celebrated by Indonesian who involved in development of food sustainability. Craftmanship approach can be taken by WFD participants by using fashion products to open conversation about food diversification in Covid-19 pandemic situation. Every region in Indonesia has signature culinary, one of them is cold beverages. Fashion products for WFD participants can take inspiration from Indonesian cold beverages. Freeform crochet technique can be used on fashion products by exploring color, silhouette, shape, and composition of Indonesian cold beverages. The result products of this final project are pants, skirt, dress, outer, top, and accessories.

  • Alexandra Bardan Alexandra Bardan

This article explores a particular marketing trend operating online during the 2010s and consisting of promoting clubbing parties using communist-style posters. The first part of the paper is dedicated to the theoretical framework and approaches the study of the posters also as an alternative memory practice that digitally marked the online landscape of leisure promotion, participating in the making of a nostalgia economy. A socio-semiotic analysis is used for a body of 118 communist themed clubbing advertisements posted online between 2009 and 2019, where content analysis provided data that narrowed the duration of the aforementioned marketing practices to a time span of six years. Content analysis also yielded an overview of the most used visual patterns, while the examination of the production techniques showed that most of the posters displayed extensive digital alteration of the ideological insignia, consistent with the conversion of political icons into kitsch practiced elsewhere in Eastern Europe. These findings are put in perspective within the context of a generational change, while the posters could be the basis for future research under the framework of collective and cultural memory.

The transfer of knowledge enables local communities to keep up with the current revolution of ICT and later to create a knowledge society. This study reviews knowledge transfer activities to local communities in Labuan through the E-Community Program conducted by the Faculty of Computing and Informatics (FCI), Universiti Malaysia Sabah Labuan International Campus (UMSLIC). The objective of this study is to investigate the trend of selecting and implementing e-community projects. The study was conducted quantitatively and qualitatively towards the e-community project reports as well as discussions between lecturers. The finding shows that graphic design projects are popular e-community projects and school students are the most benefited communities. Impacts, challenges and suggestions for improvements to the program are also discussed.

  • Sevtap Kanat

The purpose of this study is to examine the graphic design concept perceptions of university students who take graphic design education by using metaphors. The research was carried out with 160 students from the Department of Graphic Design at Inonu University, Hacı Bayram Veli University and Necmettin Erbakan University. A total of 142 students (87 female and 55 male) were considered to be surveyed. The students were asked a personal information form and an open-ended question via a questionnaire prepared by qualitative research method. The analysis of the survey data was evaluated by the content analysis method from qualitative research techniques. According to the analysis, the participants created 96 metaphors. The most repeated metaphors for graphic design are; Dreaming (7), Universe (6) and Freedom (6).The common characteristics of these metaphors produced by the participants were collected in eight sub-categories which are Effort /Labor dependent structure, Unlimited structure, Useful structure that facilitates, Multi-dimensional structure, Target-oriented structure, Changeable structure, Holistic structure, Uniform structure.According to the result obtained in the study, there are different perceptions of the graphic design based on gender and grades.

  • Jordan E. Chen

For my senior honors thesis I am creating an advertising campaign for a non-profit organization called Faceless International. Faceless works to rehabilitate victims of human trafficking and also educate children so they are less likely to be tricked into being trafficked and kept as slaves. I am creating a postcard-sized handout, a brochure/poster, an identity package for the director (consisting of a letterhead, envelope, and business card), and a t-shirt. The written portion of my thesis explores the tragedy of human trafficking and discusses why organizations like International Justice Mission and Faceless International are needed in our world today, what we are called to do as Christians, and the design process I use to create the pieces, employing design theories and fundamentals to communicate the message to the intended audience (teenagers and young adults) in the best possible way.

ResearchGate has not been able to resolve any references for this publication.