TYPOGRAPHIC IMAGE AS A VISUAL COMMUNICATION INSTRUMENT

Children, Youth and Environments 18(2), 2008 The Peace Mural: A PARTicipatory Project between Children from Chios, Greece and Izmir, Turkey Deniz Hasirci Izmir University of Economics Izmir, Turkey Citation: Hasirci, Deniz (2008). “The Peace Mural: A PARTicipatory Project between Children from Chios, Greece and Izmir, Turkey.” Children, Youth and Environments 18(2): 236-249. Keywords: youth, children, participation, mentorship, partnership, creativity, Turkey, Greece Introduction This study is about a collaborative project between three partners: Izmir University of Economics (IEU); the Turkish-German Foundation for Culture and Education (TAKEV), which is an elementary school; and Kids’ Guernica, an international initiative for peace. Izmir University of Economics established a buddy program with TAKEV Elementary School that paired university and elementary school students to work on specific projects. In the 2007-2008 academic year, we interviewed students and instructors to study the effects of the program on their creativity, self-confidence, responsibility, and opinions about the curricula. The University decided to implement the buddy program in the Faculty of Fine Arts and Design at IEU because visible results could be obtained in a short time, and because of the growing interest in these fields among middle-school children in Turkey. The five departments in the fine arts department are: Fashion Design, Interior Architecture, Architecture, Industrial Design, and Communication Design. The program began with Fashion Design, and moved on to Interior Architecture and Environmental Design, through which the partnership with Kids’ Guernica was developed. It is this latter development, when the buddy program partnered with the Kids’ Guernica project, which is the main subject of this photo essay.© 2008 Children, Youth and Environments The Peace Mural: A PARTicipatory Project between Children... 237 Fashion Design Buddy Program The IEU buddy program with TAKEV Elementary School began with the Fashion Design Department. In the program, younger and older students worked together on models. The project gave the younger students a sense of university life, while the university students gained a sense of responsibility by aiding the younger students. The buddy program received wide publicity in the local and national Turkish newspapers. Figures 1-3. The first buddy group: workshop with the fashion design department The Peace Mural: A PARTicipatory Project between Children... 238 The coordinators searched for other participatory projects in art or design in order to extend the buddy program. Around the same time, Kids’ Guernica contacted the program to do a joint project. Peace Mural by Children from Chios and Izmir Kids Guernica is a project of peace for children. Its aim is to create peace paintings in various parts of the world in a participatory way. The canvases are the same size as Pablo Picasso's 1937 Guernica (3.5 m × 7.8 m), in which the painter showed the brutality of the Spanish civil war during the bombing of the city of Guernica. Through the IEU buddy program,1 in May 2007 we made arrangements to bring together children from Chios, Greece and Izmir, Turkey to paint a peace mural under the auspices of Kids’ Guernica.2 The painting was started in Chios and travelled to Izmir in September 2007 with a group of Greek children and supervisors where they continued work on it together. The initial painting took a whole new direction with the cooperation of the children from different backgrounds. In Izmir, the participants took part in a three-day workshop to discuss the topics of “peace,” the idea of countries being geographically and culturally very close but The Peace Mural: A PARTicipatory Project between Children... 239 politically distant, and Picasso’s work. The workshop also helped the participants form a cooperative atmosphere from which to complete the painting. After the workshop, the painting was exhibited in the Zappion–Megaron in Athens in conjunction with the symposium entitled “Productivity of Culture” on October 18 and 19, 2007. The symposium was organized by the Network of European Cultural Capital Cities. Second- and third-year Interior Architecture and Environmental Design students from the IUE, seventh- and eighth-grade students from the TAKEV School, and eight children from Chios worked together on the painting of peace. The photos below depict the process of creating the children’s peace mural. Figures 6-7...

With the progress of the times and the development of society, big data technology has initially covered all areas of society, which has brought great help to people's lives and enterprise innovation. In the era of big data, computer technology is one of the simplest, most widely used and most frequently used technologies. With the improvement of people's quality of life and aesthetic standards, traditional image design and visual communication can no longer meet people's aesthetic standards. Therefore, relevant design enterprises have introduced computer technology into the system of graphic image design and visual communication design, in order to innovate image design and improve visual communication quality. According to the quality and aesthetic problems existing in current graphic image design and visual communication design, this paper analyzes the concepts and functions of computer graphic image design and visual communication design, and then summarizes the system composition of computer graphic image design and visual communication design, so as to reflect the powerful functions of computer graphic image design and visual communication design system. Keywords-analysis computer;

Visual communication design and space design is discussed in this paper the complementary relationship between, it is worth mentioning that the visual communication design can be a good blend of collision and space design, so the analysis of the blend mode in the design of visual communication design elements in space, and space visual design elements of law, more reasonable and effective use of visual communication design elements in space design activities for better design services, become a carrier capacity and environmental design in visual communication design concept, therefore, in the design of the two classify, between the two cannot be away from each other, can only promote better design complement each other. As is known to all, the most direct contact between human beings in this world is vision, also known as sight and sight, followed by hearing, smelling and tasting. Therefore, the more intuitive feelings of human beings will be conveyed by vision. In 1960, the term ＂visual communication＂ popular in the world design congress held in Japan, including printed newspapers and magazines, posters and other promotional material design, and television, movies, electronic billboards and other media, through the eyes to convey to the brain for modelling of expressive design is widely referred to as visual communication design, there's a phrase can express: show people design, design. Moreover, in the design of contemporary exhibition space, visual communication design elements are often used. These design elements not only have the function of transmitting information, but also have unlimited commercial value and propaganda effect. Left the concept of positioning, space design is only the so-called functional platter; Ignore the visual communication of visual language, no matter how good the environment will be due to graphic design style gap and left a failure. As we know, one of the most important functions of visual communication design elements is to help present the most complete visual effect in the spatial display. The organic connection between visual communication design and display space design not only harmonizes the relationship between two-dimensional plane and three-dimensional space environment, but also expands the cooperation between subjects and strengthens the research space between the two design disciplines. Only in this way can designers solve complex and comprehensive problems and help designers make full use of their advantages to create better works.

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.

This article serves several purposes. First, it posits that math is a source for the long sought after black cultural aesthetic [1] for graphic design. Second, it brings to designers research that has revealed the historical existence of advance mathematical principles in indigenous African art, architecture, and culture. Third, it recommends to African-American graphic design students the cultural artifacts of ethnomathematics as alternative sources for creative inspiration by showing how geometry (a relatively new discipline in western society) has been embedded historically in indigenous Africa. Fourth, it reports and analyzes empirical data from a test done on the design potential of the Cornrow Curves and Mangbetu Design software programs to generate mathematical visual patterns that are useful within the discipline of graphic design. Finally, it discusses the relevance of fractal geometry [2] to the visual semantics of the graphic designer's grid-based canvas-”a printed or electronic page or composition in which text and graphics are strategically positioned so that a diverse audience can access it for information and/or an aesthetic or cultural experience.

The art and visual communication design products also are significantly influenced by the development of technology, dissemination of means of communication and rapid advancement of consumption society. Along with the consumption society, serious changes started to occur in the interpretation and usage of art. Among the visual communication arts, absolutely the most important issue is the graphic design. The most prominent function of graphic design is to realize the introduction of a certain message or product by using visual expressions. Visual communication creates the same feeling and emotion without it being necessary to speak a certain language among all the people. The sense of sight is the most important sense organ for the humans. The incidents happening in the environment, the existing objects and situations are first identified upon being seen and tried to be understood. The information obtained through the sense of sight can be remembered more clearly than the information obtained via other senses. Therefore, it can be suggested for sure that seeing comes before speaking. In this study, the explorative research method has been utilized to investigate the concept of design in visual communication. The studies conducted previously by various researchers in various fields of visual communication were reviewed and the topic of design in visual communication was tried to be revealed based on the obtained findings. From this point onwards, it was found out that the importance of design in visual communication increased after the modern period and visual communication was benefitted from in many areas. Examining the point reached by design in visual communication today, it can be argued that such component is used very heavily on advertising and social media and even it has spread to every point which our eyes can see. Visual communication on the society and individuals had become a means of communication which is very widely used and needed today. It has been concluded that visual communication is applied in all activity areas of daily life and this situation has become highly important.

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.

У статті здійснено ретроспективне дослідження графічного дизайну. Зазначено, що в сучасному світі графічний дизайн проник у всі сфери життєдіяльності людини. Він супроводжує рекламу, культурні заходи, популяризує ідеї. Графічний дизайн – це творча діяльність, яка супроводжує різні потреби людини і йде в «ногу» з розвитком сучасних технологій. Звернуто увагу на те, що терміни «промислове мистецтво, технічна естетика, художнє конструювання, графічний дизайн» з’явилися порівняно недавно. За смисловим значенням вони дуже подібні, проте найбільш поширеним в даний час є графічний дизайн. Визначено, що «графічний дизайн» як окремий напрямок художнього проєктування виник за рахунок його відокремлення від прикладної графіки. Обґрунтовано, що графічний дизайн – це художньо-проєктна діяльність, основним засобом якої є графіка. Мета цієї діяльності – візуалізація інформації, призначена для масового поширення за допомогою поліграфії, кіно, телебачення, а також створення графічних елементів для промислових виробів і предметного середовища. Розглянуто основні етапи становлення та розвитку графічного дизайну. Проаналізовано розвиток графічного дизайну в Україні в ХХ столітті. Звернуто увагу, що з розвитком технічного прогресу та появою потужних комп’ютерів графічний дизайн як мистецький прийом отримав «нове дихання» у вигляді комп’ютерного проєкту, що свідчить про його життєздатність та особливість. Трансформація графічного дизайну в дизайн візуальних комунікацій – проєктування складних об’єктів систем нового типу – привело до створення візуальних текстів, як основи спілкування. Зроблено висновок, що ХХ століття стало епохою інформаційно-комунікаційного вибуху. Розвиток інформаційних технологій призвів до зміни способу мислення суспільства і вплинув на розвиток науки, мистецтва та дизайнерської культури. В результаті активного розвитку комунікаційних процесів графічний дизайн став найважливішим засобом формування середовища сучасної людини.

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.

This paper examines the research practices in Art and Design that are distinctively different from those common in research into higher education outside those fields. It considers whether and what benefit could be derived from their adaptation by the latter. The paper also examines the factors that are conducive and obstructive to adaptive transfer happening. Founded in the relevant literature, the paper uses 16 semi-structured interviews with academic staff in the disciplines of Graphic Design, Design for Performance, Fine Art and Fashion in an English Arts university. It concludes that there are features of Art and Design research that could be beneficial and that, in some cases, these also meet the necessary conditions for successful adaptation: salience to higher education researchers and profitability in relation to some of the goals of research in that field. However, such practices may not be congruent with dominant approaches in research into higher education, a further condition of successful adaptation, and there may be concerns in some cases around the issue of ‘rigour’. The overall conclusion, therefore, is a qualified one.

A challenge facing the clothing and fashion industry is the need to integrate different perspectives of visionary innovation. Within current circumstances of the industry and contemporary trends, there are many examples of fashion products and ideas being inspired by, or developed from interdisciplinary and technically oriented components. Based on this direction, curricula in fashion design related departments are being revised to take into account different perspectives of innovations and new technologies related with fashion products. In addition, the interaction between university and industry is an important parameter for the dissemination of the innovation concept from different perspectives, a process in which higher education institutes play a critical role.Within this context, a case project was conducted in the Department of Fashion and Textile Design in a university in Turkey. The aim of the project was to promote a new approach to combining material knowhow with the creative process, and thus draw attention to the intersection of fashion design, technology and innovation. Other investigation issues in this study were the necessity of taking an interdisciplinary approach (and research) for innovation and the contribution of university-industry collaborations.A group of students from different design disciplines were given topics related with technically enhanced fabrics, such as high-visible fabrics, thermal range fabrics, industrial launderable fabrics, flame retardant fabrics and microencapsulated fabrics. Creating a design concept embracing these technical areas was seen as presenting a suitable level of challenge for students. A knitwear production company provided the fabrics for use in student products. At the end of the project, student projects were assessed by university instructors and company representatives. Student comments were also evaluated through survey analyses. Therefore, evaluation of projects was based on three main pillars: the instructors, the company and the students themselves. As a result, it was seen that this project was a new approach for students, and helped them to work with different restrictions in design to find innovative solutions. Students were able to improve their understanding of the effects of technology in fashion design issues, and to extend the boundaries of their creativity by working in an interdisciplinary manner.Such a university-industry project with students from different disciplines could be suggested as representing an important challenge, with the potential for promoting the development of fashion industry and academic growth, especially in countries like Turkey, where industry faces an extremely-competitive environment.Keywords: Innovation, Fashion design education, Interdisciplinary, Creativity, Turkey, University-industry collaboration

With the rapid advancement of digital technology, virtual reality has revolutionized visual communication design. Traditional graphic design, limited to two-dimensional representation, is now redefined by virtual reality, which offers a three-dimensional immersive environment that redefines the presentation and dissemination of visual information. This study focuses on how virtual reality technology overcomes the spatial limitations of graphic design, aiming to construct a visual communication system with deep perception. By analyzing the spatial narrative logic and interaction mechanisms of virtual environments, it is found that multi-dimensional spaces can enhance the effectiveness of visual information expression and improve the audience’s real perceptual experience. Virtual reality extends visual elements in depth, motion, and time through spatial reconstruction, opening up new possibilities for visual communication design. This technological innovation not only broadens design techniques but also profoundly influences the audiences’ cognitive methods and aesthetic experiences.

With the rapid digital developments, the practice and study of VR/AR technologies reached almost all the design disciplines by considering different applications. Therefore, there is continuous pressure on design education, where course programs in graphic design, media design, fashion design, and product design must promptly incorporate these new technologies and create complete unity between the various design professions. This paper provides a careful examination of case studies in literature and consideration of utility for the profession through a curriculum of virtual and augmented reality technologies with specifications that suit multiple areas of design (product and graphic design). This approach demystifies these new technologies from the design process to product marketing. Interviews and discussions were conducted with a sample of approximately 100 participants (60% students, 30% design educators, 10% designers, and employers). The study included different universities from UAE, Egypt, and Italy. During the academic year 2020/2021. Furthermore, the results of this research were applied to design the Virtual Reality and its Derivatives course within the new study plan of the Graphic Design Department, College of Mass Communication at Ajman University in the United Arab Emirates.

This article analyses research related to graphic design in the field of education and gives an overview of multiple definitions given in specialized literature regarding graphic design and design research. Design research provides an important blueprint for many other areas of practical research in contemporary society. The methodology of graphic design is transferable – it can be utilized not only in graphic design as such, but also in other areas, including management, business, and marketing. This process has been facilitated by the development of an academic research base, including doctoral programs. Due to the insufficient number of works on graphic design, it is necessary to venture into the other areas, such as industrial design, architecture, and engineering, which have a larger number of studies in the field of education. To prove that graphic design can affect the educational environment, it is necessary to study the nature of design as project research and design process.
 Keywords: design, graphic design, education, character design, industrial design, design thinking

The ICT tool called Visualografia, is the product of the third phase of design research about “Theory and practice of data visualization in visual messengers”, this in order to give an answer to the need to manage learning processes that require students for interpreting under the thematic content early use of visual communication and technology of the digital age, to achieve effective messages targeted to specific users in society; for that reason, the information can be represented using diagrams and signs that transform the content into meaningful chromatic forms as part of the disciplinary training in Visual Communication Design. The tool was developed in a virtual environment, in the search for new interfaces in the teaching and learning processes that enable interaction with students receive theoretical and practical basics of design to the potentiation of cognitive skills to solve problems in the environment that may inhabit as individuals. A case study was chosen from teaching practice to verify the effectiveness of ICT tools in students, using a qualitative method that showed experiential results, focused on meaningful learning styles with projection to the implementation of the tool in the discipline of Visual Communication Design.