The elements of graphic design: space, unity, page architecture, and type

Relevance: in modern conditions, teachers are actively involved in the creation of electronic textbooks, interactive notebooks, various forms and test tasks, etc. All this means developing and designing objects of the Internet information environment from the standpoint of user-friendliness and meeting the user's aesthetic needs. The web design competence development of teaching staff at vocational education institutions is an urgent need in the context of digitalisation of education. Aim: defining the structure of competence in web design for teaching staff of vocational education institutions and substantiating the methodology for its development. Methods: analysis and synthesis – to determine the development state of the problem under study and the list of competence in web design of teaching staff; generalization – to formulate conclusions and recommendations for the web design competence development of teaching staff at vocational education institutions; diagnostic (testing, conversation) – to find out the level of competence in web design of teaching staff. Results: it was found that more than 17% of teachers design and create websites and web pages that combine text with sounds, pictures, graphics and video; 5-7% use various graphic editors and image processing services; about 80 % of respondents carry out independent design development of electronic publications (a product containing information in electronic form); less than 6 % of respondents indicated that there is a unified approach to the design of educational materials on hard copy and for posting on the Internet. The structure of competence in web design for teaching staff of vocational education institutions consists of technical skills (basics of composition, typography, colour science, graphic design, design software, user interface (UI), user experience (UX), responsive design) and soft skills (project management, time management, copywriting, web design awareness, creative thinking, critical thinking, attention to detail, communication, self-reflection). To assess this competence, four levels (initial, low, medium, high) have been developed, taking into account the indicators of motivational, cognitive, activity and reflective criteria. Taking into account the specifics of the teaching staff activities at vocational education institutions, a methodology for their design education has been developed, which is aimed at developing competence in web design and includes seven stages. Conclusions: Teaching staff of vocational education institutions are involved in the development of e-learning content, but have a low level of competence in web design. The web design competence of a teaching staff member of a vocational education institution is a combination of knowledge, skills and attitudes to web design technologies to create educational content for performing tasks, solving problems, communicating, managing information, working together in the information and educational environment of a vocational education institution, doing it effectively, appropriately, safely, critically, creatively, independently and ethically. At the same time, the teacher does not have to be a web designer, he/she uses the tools and ready-made algorithms of the services he/she works with, the basis of his/her training in this field is graphic design, typography, copywriting, etc. for the effective presentation of electronic content.

Various exquisite graphic designs that can be seen everywhere beautify people’s vision and influence people’s visual aesthetics subtly. This paper starts with the visual aesthetic elements of graphic design and discusses the construction of visual aesthetic element systems in graphic design by analyzing the composition elements and aesthetic characteristics. Secondly, it proposes to use the biological visual perceptual machine model to process information through two visual pathways in a hierarchical manner. The features of graphic design images are expressed, stored, and extracted using the visual information model. Finally, the effectiveness of the bio-visual perceptual model applied to the construction of visual aesthetic elements of graphic design is verified by the Caltech5 database, Caltech256 database, and Scene15 database. The results show that the classification accuracy of the bio-visual perceptron model is 94.28%, 91.36%, and 99.75% in Caltech5, Caltech256, and Scene15 databases, respectively, which is 23.12% higher than the accuracy of other neural network models on average. The bio-visual perceptron model proposed in this paper can accurately detect the elemental features in complex graphic design, which provides a new idea and method for rapid detection and recognition for graphic design workers.

This article examines how graphic designers’ innovations in web design revealed the potential and capabilities of interactivity as a communication experience tool. During the early World Wide Web (1995–2008), graphic designers’ practice-based contribution to interactivity enhanced how people experienced this new technological domain. Few designers contributed to the scholarly discussion of interactivity. The main academic fields that did—Human–Computer Interaction, Interaction Design and Communication Theory—disregarded graphic design's contribution, slowing knowledge production around the nature and potential of interactivity. The article compares the three fields’ main ideas about interactivity to an analysis of 47 websites from 2008. It argues that although the idea of interactivity emerged as a transdisciplinary phenomenon, graphic designers’ practical implementation of interactivity in web design through the development of qualities of intuitiveness, enablement, responsiveness, connectivity, intentionality and experience extended its conceptualization beyond technical standards, functionality and theorization.

Application research of interior space design elements based on image processing

The present study was aimed to improve the awareness of design education in India.It gives the proper idea to develop the consumer products.This article describe the traditional innovation and importance of the design education.The renowned design institutions are producing new budding designers with technical degrees."Design is a roadmap or a strategic approach for someone to achieve a unique expectation.It defines the specifications, plans, parameters, costs, activities, processes and how and what to do within legal, political, social, environmental, safety and economic constraints in achieving that objective."Brooks, F.P. ("The design of design: Addison-Wesley Professional", 2010 ISBN 0-201-36298-8.) "Design education is the teaching of theory and application in the design of products, services and environments.It encompasses various disciplines of design, such as graphic design, user interface design, web design, packaging design, industrial design, fashion design, information design, interior design, sustainable design, and universal design.The values and attitudes which underlie modern design schools differ among the different design schools."Michl, ("A case against the modernist regime in design education" Jan. 2006.

Enhancement of web design quality through the QFD approach

The article is based on the basic theories of computer graphic image design and visual communication design, combined with the historical background, tasks, creative rules, educational methods, involved fields and thinking styles of computer visual communication design. Combining the needs of visual communication graphic design, the paper designs a graphic design visual aesthetics computer-aided analysis system based on design geometry, which realizes the import of graphic design works, the interactive segmentation and acquisition of design elements, and the analysis and judgment of the relationship between proportion and composition. And other basic functions. The system can be used to judge the visual aesthetics of design works and can also provide design support related to geometric aesthetic principles to users engaged in graphic design.

A unique cross-disciplinary survey of design history, A History of Design from the Victorian Era to the Present offers a concise overview of the modern milestones of architecture, interior design, graphic design, product design, and photography from the Crystal Palace of 1851 to the iPhone at the turn of the twenty-first century. This abundantly illustrated volume traces modern design across continents and cultures, highlighting the key movements and design traditions that have shaped the world around us. From the whirlwind of innovation that gripped Victorian England at the dawn of the Industrial Revolution, the book details design's rich evolution through more than a century and a half, including Art Nouveau's breathtaking ornament, the vision of the Bauhaus, the rise of the International Style, and postmodernism and contemporary currents in the graphic arts and landscape architecture. Major design figures are framed against a background of evolving aesthetic idioms. Especially attuned to how technological innovations catalyzed daringly conceived skyscrapers, bridges, and cantilever chairs, the authors also chart the impact of technical advances in the disciplines of industrial design, typography, and photographic portraiture. This new edition of a classic text first published in 1970 expands coverage to include developments in design over the last forty years, with emphasis on its global reach, the impact of the digital revolution, and new trends in sustainable design that will shape the century to come.

As apartments have recently become more advanced and diversified, the Government of South Korea has expanded the design guidelines of the Ministry of Land, Infrastructure and Transport, which used to be applied only to public apartments, to private houses since March 2010. In addition, local governments' policies, such as "the Seoul Metropolitan Government's Building Standards" and "Gyeonggi-do Apartment Design Standards", are also moving toward emphasizing the quality of housing design. This study aims to find out what are the most important elements of the design of apartments and community facilities. As a result of conducting Focus Group Interview (FGI) to related experts, 6 items on the design elements of apartment, 29 items on detailed design elements, 5 items on community facility design and 17 items on detailed design elements were derived. An analysis of the importance in design elements showed that the number one design element of apartments is the interior design and which also shows that residents consider the space they own more important. The most important element of community facility design is the outdoor space and which is the most important for residents of residential complexes to have access to outdoor space for community exchange and bonding.

Learning Graphic Design requires a high level of visualization, especially for design concepts or 3D interior design. If this material is only taught through guided practice in class, the learning outcomes will certainly not be optimal, especially for vocational graduates in the current digital era. The research aims to test the practicality of digital learning applications based on augmented reality technology as a learning medium for 3D interior graphic design. The type of research is Research and Development (R&D) with the Borg and Gall Method, data collection techniques using Likert scale questionnaires, applications built using Blender for modelling, Unity 3D for Augmented Reality Implementation, Android Studio for designing applications, Firebase for database storage, and Fiqma to design the interface design. This research produces a digital learning application that is used for learning 3D interior graphic design which is equipped with learning needs such as classrooms, and communication rooms and is based on Augmented Reality technology so that the resulting interior design objects can be displayed in real-time. Aiken's V formula is used to test the practicality of digital learning applications. The research results showed that the average Aiken's V score from lecturers was 85.22% in the practical category, and students in the small group test was 82.96% and students in the large group test was 83.04% in the practical category. So, it can be concluded that the use of the DiGi.AR application based on Augmented Reality is good and practical for learning 3D graphic design.

This research aims to explore the dynamic relationships within sustainable entrepreneurship. This research examines the evolving nature of sustainable entrepreneurship in the presence of three major aspects: social, economic, and environmental. In management literature, the idea of sustainable entrepreneurship is relatively new. Sustainable business practices are frequently referred to as stainability business practices. The idea was conceived to connect books on entrepreneurship and sustainable development. A qualitative research methodology is adopted for this research. Thirty-nine students from Art & Design sector were included in this study. A total of 39 students were involved in the research process. Students were later given a detailed project to submit entrepreneurial projects, including the sustainability factors. These 39 students were the graduates of the final semester from four different sectors: Fashion Design, Textile Design, Interior Architecture Design, and Graphic Design. It is not easy to progress toward sustainable entrepreneurship policies for all stakeholders involved to maximise their operations and benefits due to the fact that the existing institutional structures prefer the currently operating businesses and systems that are not sustainable over the more recent ones that are sustainable. The research findings in this study provide insights into concepts important to understanding sustainable entrepreneurship in a developing country. Keywords: Sustainable Entrepreneurship, Pakistan, Sustainability, Case Study, Projects, Art & Design.

Valeria MoldovanRomania ★ Illustrator Melissa Garavini Born in Brasov, in the South-east of Romania on Christmas Eve in 1956, Valeria Moldovan now lives and works in the capital city, Bucharest. She has an artistic and graphic background as she attended The Arts College in Brasov, then the Plastic Arts Faculty at the Decoration and Plastic Arts Institute in Cluj Napoca. After graduating, she found work in the field of graphics. From 1979 to 1983, she worked as a graphic designer for the advertising agency Recom in Bucharest. After this, she transferred to the Print Factory “Matasea Populara” in the same city, where she continued to work as a graphic designer. Less than a year later, she began to work for Editura Didactica si Pedagogica, again as a graphic designer and illustrator, and stayed with this company for six years. In 1994, she began to collaborate with Regala Publishing and continued there for several years. Moldovan’s varied career as a graphic designer helped her to build the contacts necessary for her work as an illustrator. She has illustrated children’s books for various local publishers including Creanga Publishing, Albatros, Garamond, Regala, Popet, and All Publishing Group. She also worked as an art director with a Bucharest advertising agency, Ignis, until 2005. Moldovan has designed and illustrated numerous children’s books, textbooks and magazines. Her drawing style is distinctive as her illustrations are reminiscent of Eastern fairy-tales, rich in detailed arabesque ornamentation, where for example, the dresses are rich in detail, often embroidered. When illustrating objects, Moldovan does not rely on literal presentation, but rather produces objects that seem to come from an imaginative dimension where everything is allowed. They are drawn with a light hand, and do not abide by realistic colors or features. Moreover, Moldovan’s drawings (both characters and objects) are usually bi-dimensional and stylized, and they do not rely on standard conventions for perspective. Instead, they are characterized by their use of warm colors such as orange, red, and especially purple. Selected Publications Cele mai frumoase 10 poveşti [Most Beautiful Ten Stories]. Texts by many authors. Bucharest: Nemira Publishing House, 2007. Print. Google Scholar Poveşti orientale [Oriental Stories]. Text Valentin Nicolau. Bucharest: Corint Publishing House, 2009. Print. Google Scholar Poveşti şi schiţe [Stories and sketches by I.L. Caragiale]. Text I. L. Caragiale. Bucharest: Corint Junior Publishing House, 2009. Print. Google Scholar Poveşti Fratii Grimm [Stories by the Grimm Brothers]. Retold by Lia Decei, Iulia si Victoria-Dana Feldrihan, Traian Fintescu, and Mioara Sechel. Bucharest: Corint Publishing House, 2010. Print. Google Scholar Basme [Fairy Tales by Hans Christian Andersen]. Text Hans Christian Andersen. Bucharest: Corint Publishing House, 2010. Print. [End Page 44] Google Scholar Copyright © 2012 Bookbird, Inc

This study is motivated by the futuristic interior design and attractive facilities of the University of Indonesia (UI) Library, which create a comfortable environment. However, statistical data show a significant decline in student visits between September and December 2023. This phenomenon raises questions about the factors influencing users' experiences, particularly their perceptions of the library's interior design, which should ideally enhance comfort and increase visitation. This research is essential to understand how interior design affects user perception and visit rates, and to provide recommendations for improvements that could boost the library's appeal among students. This study employs a descriptive method with a quantitative approach. Data were collected through questionnaires, observations, literature review, and documentation. The population consists of 15,190 student users of UI Library, and based on Isaac and Michael's formula, a sample of 284 respondents was obtained. Accidental sampling was used as the sampling technique. The results show that users' perceptions of the interior design elements averaged 3, while the interior design principles received an average score of 3.33. Overall, the users' perception of the library's interior design averaged 3.29, falling within the "very good" range (3.28-4.03). Although the general perception is positive, the lowest scores were found in the air temperature aspect (2.63) of the design elements and in the proportion aspect (3.09) of the design principles. Therefore, it is recommended that librarians improve the aspects with the lowest scores to enhance user comfort and maintain the positive perceptions of the library.

In today’s capitalist world, a well-established corporate identity may be accepted as a significant contributor to corporate success. Corporations are engaging in the process of redesigning their corporate identities to establish a sustainable relationship with the customers. Corporations may use different elements to reflect their corporate identities in a desired manner to their customers and interior design is one of those elements commonly used. Interior design of corporate spaces is the visual face of corporations and also a visual communication ground with the customer. In this framework, aim of this paper is to explore the interior design applications on a specific private bank branch example in Turkey as a case study to emphasize the importance of interior design in creating corporate identity. It presents an interdisciplinary study both in graphic and interior design disciplines. The conclusion of this paper contributes to the investigations regarding the impact of interior design for desired customer perception. Keywords: interior design, corporate identity, customer perception, banks

In the process of modern graphic design, designers usually get inspiration from a large number of art graphs and then choose graphic elements for graphic design. However, the process is generally manual, limiting the alternatives a designer can explore. In this paper, we propose GDAssister, a graphic design assistant system with optimal algorithm of associated rule mining. The system can automatically generate corresponding graphs according to the requirements of designers and use style transfer technology to change the style (color and texture) of the graphs. The system introduces four modules referring to the process of graphic design (e.g., graphic element extraction, association rule mining, automatic layout, style transform). Association rule mining is the core module of the system, and the efficiency of association rule mining algorithm determines the running efficiency of GDAssister. We design an improved association rule mining algorithm (IFP-Growth), which can reduce time consumption and memory usage. We use Chinese ethnic apparel database to verify the feasibility and efficiency of the system. Our experiment shows that GDAssister: (1)helps designers create more graphic alternatives to explore design creativity and (2)helps designers generate different styles of graphs more quickly to shorten the design cycle.