scholarly journals Creative Approach to Visual Learning: The Use of Filmmaking Techniques and the Rhetoric of Typography

2017 ◽  
Vol 4 (2) ◽  
Author(s):  
Vladimir Dimovski ◽  
Irma Puškarević
Keyword(s):  
Graphic Design ◽  
Art History ◽  
Visual Learning ◽  
Cognitive Effort ◽  
Rhetorical Figures ◽  
Present Complex ◽  
The Common ◽  
Video Compositing ◽  
Motion Graphic ◽  
Semantic Properties

This paper outlines the creative methods of visual learning – one that is applied in the field of art history and the other that derives from the practice of typography. The first method considers artwork analysis, particularly, the analysis of paintings. In order to present complex narratives that exist below the surface of an artwork, art history methods apply concepts that are hard for a learner to follow and understand. The use of the common means of visual learning (graphics, charts, maps) may enhance the acquisition of knowledge. However, if we try to push this means further, we may suggest a creative approach to visual learning that uses more elements. Some of them can be found in the field of motion graphic design, video compositing and editing, animation, and film. Similarly, creative visual learning concepts can be found in the practice of graphic design, that is, typography. The analysis of rhetorical figures in advertisement, for example, presents us with an inspiring notion of applying figuration to a typeface design. This concept is suggested, by researchers, to increase positive cognitive effort and memory. Therefore, effects of functional and semantic properties of typefaces should be a matter for consideration in the future tools for visual literacy.

Dual exploration strategies using artificial spiking neural networks in a robotic learning task

2020 ◽  
pp. 105971232092474
Author(s):  
André Cyr ◽  
Julie Morand-Ferron ◽  
Frédéric Thériault
Keyword(s):  
Risk Taking ◽  
Spatial Information ◽  
Autonomous Robots ◽  
Visual Learning ◽  
Learning Task ◽  
Conditioning Procedure ◽  
Neural Architecture ◽  
The Common ◽  
Multiple Levels ◽  
Robotic Learning

Spatial information can be valuable, but new environments may be perceived as risky and thus often evoke fear responses and risk-averse exploration strategies such as thigmotaxis or wall-following behavior. Individual differences in risk-taking (boldness) and thigmotaxis have been reported in natural taxa, which may benefit their survival. In neurorobotic, the common approach is to reproduce cognitive phenomena with multiple levels of bio-inspiration into robotic scenarios. Since autonomous robots may benefit from these different behaviors in exploration tasks, this study aims at simulating two exploration strategies in a virtual robot controlled by a spiking neural network. The experimental context consists in a visual learning task solved through an operant conditioning procedure. Results suggest that the proposed neural architecture sustains both behaviors, switching from one to the other by external cues. This original bio-inspired model could be used as a first step toward further investigations of neurorobotic personality modulated by learning and complex exploration contexts.

Diagrammatic information

1993 ◽  
Vol 7 (1) ◽  
pp. 3-17 ◽  
Author(s):  
Richard K. Lowe
Keyword(s):  
Mental Representation ◽  
Subject Matter ◽  
Graphic Design ◽  
General Level ◽  
Vital Part ◽  
Present Complex ◽  
Wide Range ◽  
The Mind ◽  
The Way ◽  
Subject Domains

Diagrams are increasingly used to present complex and abstract information. Their ultimate success as tools for communication depends largely upon how effectively they can be processed in the mind of the viewer. The application of established principles of graphic design is a vital part of developing effective diagrams, but tends to focus upon external aspects of representation that apply at a general level across a wide range of subject domains. However, the internal (mental) representation of a specific set of subject matter is also important in influencing what sense viewers make of a diagram. The task of characterising relationships between the way a diagram is represented mentally and the effectiveness with which that diagram is processed poses novel challenges to researchers. This paper decribes some of these challenges and discusses methodologies that have been developed to explore the mental representation and processing of explanatory diagrams.

scholarly journals Non-conventional figurative language as aesthetics of everyday communication

2016 ◽  
Vol 6 (2) ◽  
pp. 243-275 ◽  
Author(s):  
Lena Wimmer ◽  
Ursula Christmann ◽  
Elisabeth Ihmels
Keyword(s):  
Figurative Language ◽  
Semantic Differential ◽  
Cognitive Effort ◽  
Aesthetic Appreciation ◽  
Main Hypothesis ◽  
The Core ◽  
Rhetorical Figures ◽  
Aesthetic Pleasure ◽  
Exploratory Data ◽  
Everyday Communication

This study focuses on the emotional aesthetic appreciation of figurative language, a dimension which has often been neglected in experimental psycholinguistics. Our goal was to demonstrate that non-conventional figurative utterances are evaluated as more aesthetically pleasing although they are cognitively more demanding than conventional rhetorical figures. This hypothesis was tested for three main types of figurative language (metaphors, irony and idioms) in three separate surveys. Participants assessed utterances by means of a questionnaire which comprised several semantic differential items. The postulated covariation of non-conventionality and cognitive effort as well as of non-conventionality and aesthetics could be clearly established for metaphors and for irony. For idioms we could only partially provide this evidence. However, in a combined sample for all figurative language forms (compiled from the three studies) the main hypothesis was again confirmed. Thus, the results demonstrate that non-conventional variants of figurative language must be considered as the core of figurative aesthetics. Furthermore, our exploratory data gave evidence of an aesthetic paradox: the cognitive costs of understanding conventional figurative language reduce aesthetic pleasure, while in the case of non-conventional rhetoric figures the enhanced cognitive effort is accompanied by an increase in aesthetic pleasure.

scholarly journals GRAPHIC DESIGN PROCESS: CONTEXT OF IMPLEMENTATION

2020 ◽  
pp. 185-196
Author(s):  
Raisa Yu. Ovchinnikova ◽  
Keyword(s):  
Design Process ◽  
Graphic Design ◽  
Art History ◽  
Computer Aided Design ◽  
High Tech ◽  
Design Practice ◽  
Academic Knowledge ◽  
Computer Technologies ◽  
Computer Aided ◽  
Aided Design

The article shows that the study of design process as a special activity in graphic design is an art history problem and requires special research methods. It is scientific methodology that makes it pos-sible to achieve reliability in art history knowledge. Attention is drawn to the fact that since the 1960s the methodology of systems theory and activity theory has been a keynote for the development of the design process knowledge in various schools of graphic design. This methodology meets academic criteria and has not lost its value in our days. Based on the principles of this methodology the article analyzes different types of the graphic design process. The objective processes associated with the use of computer technologies in design appear to be the norm and the paradigm of functioning in modern graphic design. Thus, the idea of existence of numerous computer-aided design types is justified. The design objectives of diverse complexity serve here as criteria. On the basis of these objectives traditional, original, and innovative designs are out-lined and comparatively analyzed in the article. It is noted that computer technologies, first, act as an effective tool for the implementation of the forms envisioned by the designer. Second, a computer can be regarded as a creative partner, an agent. Computer technologies possess a unique set of properties and features that open up new opportunities for a creative practice in the field of graphic design. The boundaries of the design practice are changing, and new areas of collective creativity are being estab-lished. In this case the graphic design process is a process that involves efforts of many people. So, individual creativity of professional designers appears to be replaced by the collaboration of interdisci-plinary experts. It is also noted that the growth of computer-aided technologies is too fast for graphic designers to develop a theoretical understanding of them. It results in the duality of assessing the role of methodol-ogy and experience in the graphic design process. On the one hand, the use of design methodology improves efficiency of the design process in comparison with the approach based on experience. On the other hand, there occurs the “extraction” of methodology from the design practice. Research meth-ods of the graphic design process are created under the influence of not only intradisciplinary process-es but also with a view to the messages from other areas of academic knowledge. An example is the use of synergy as a special way of understanding empirical facts accumulated in various fields of aca-demic knowledge. Namely, computer-aided design reveals the non-linearity, a large variety of forms. Herewith, any calculations applied to a huge number of graphic elements change the visual result, creating a new version of the form. It is noted that the use of high-tech computer technologies is quite specific about training designers.

scholarly journals The Perceptions of Graphic Design Concept on Students Study on Graphic Design

2019 ◽  
Vol 7 (5) ◽  
pp. 65
Author(s):  
Sevtap Kanat
Keyword(s):  
Qualitative Research ◽  
Graphic Design ◽  
Design Education ◽  
Research Method ◽  
Personal Information ◽  
Design Concept ◽  
Dimensional Structure ◽  
Analysis Method ◽  
Content Analysis Method ◽  
The Common

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.

scholarly journals Eye tracking study of attention to print advertisements: Effects of typeface figuration

2016 ◽  
Vol 9 (5) ◽  
Author(s):  
Irma Puškarević ◽  
Uroš Nedeljković ◽  
Vladimir Dimovski ◽  
Klementina Možina
Keyword(s):  
Experimental Design ◽  
Eye Tracking ◽  
Specific Area ◽  
Cognitive Effort ◽  
Current Understanding ◽  
Objective Method ◽  
Print Advertisements ◽  
Rhetorical Figures ◽  
Subjective Method ◽  
Research Studies

The use of rhetorical figures has become a widely–accepted method for capturing attention and positively increasing cognitive effort in print advertisements. So far research studies mostly analyzed the effect of rhetorical figures in the written as well as pictorial elements of an ad. However, there have been few studies addressing the effect of rhetorical figuration in the specific area of typeface design. This study analyzes the effects of typeface figuration (i.e., regular vs. irregular stylization of the form) on attention and attitude of the viewers. The study also looks at how the effect of typeface figuration changes in relation to the type of a product (hedonistic vs. utilitarian) being advertised. Through the use of a 2 × 2 experimental design, the study measures data using a combination of eye tracking (an objective method) and attitude scaling (a subjective method). 65 volunteers participated in the study. The eye tracking results show that using rhetorical figures in typeface mainly affects attention of the viewers. We have also determined that they influence their attitude. Additionally, the study shows that a typeface and a type of products are correlated; it shows that the hedonistic type of products can benefit more from the figuration. In conclusion, our study builds on and expands the current understanding of the use of rhetorical figures by proving that there is a correlation between the use of rhetorical figures in typeface and viewers' attention, depending on the type of product being advertised.

scholarly journals Development of Motion Graphic as Education Material for Promoting Shipping Industry Using EPIC Model Testing

2021 ◽  
Vol 8 (1) ◽  
pp. 27-34
Author(s):  
Mirza Oktanizar ◽  
Dwi Ely Kurniawan
Keyword(s):  
Graphic Design ◽  
General Public ◽  
Model Testing ◽  
Effective Range ◽  
Shipping Industry ◽  
Motion Graphics ◽  
Epic Model ◽  
Education Material ◽  
Index Terms ◽  
Motion Graphic

Education related to problems in the shipping industry to the general public who have no background in the shipping industry and activities when ships dock at the port becomes a challenge to conduct research. This research develops multimedia motion graphics to combine graphic design, animation, text, and sound in visualizing materials and activities in the shipping industry. Stages of making multimedia start from ideas, narration, storyboard, tracing, editing, rendering, and testing. The research uses the EPIC Model testing by paying attention to aspects of empathy, persuasion, impact, and communication. The results of testing the effectiveness of the EPIC model obtained an EPIC rate of 4.15, which means that the resulting motion graph falls within the effective range criteria.   Index terms— multimedia; motion graphic; EPIC model; effectiveness

scholarly journals Sekwencja Stabat Mater we włoskich interpretacjach muzycznych doby XVIII wieku

Sympozjum ◽  
2021 ◽  
Vol 25 (1 (40)) ◽  
pp. 83-102
Author(s):  
Renata Borowiecka
Keyword(s):  
18Th Century ◽  
Virgin Mary ◽  
Musical Composition ◽  
Harmonic Structure ◽  
Stabat Mater ◽  
Rhetorical Figures ◽  
Blessed Virgin Mary ◽  
Nodal Points ◽  
Musical Rhetoric ◽  
The Common

The Stabat Mater sequence in Italian musical interpretations of the 18th-century The Stabat Mater poem, which describes the suffering of Blessed Virgin Mary under the cross on which Jesus – her Son – is dying, has become a universal theme which inspired composers of various ages and origins and found its expression in numerous musical interpretations. From among over 400 compositions which set the text of the sequence to music, a large proportion are 18th-century works (mostly – late baroque) of Italian provenience. Attempting to interpret a musical composition with text of the 18th century, one has to take into account the theory of affects and musical rhetoric, which make the text dependent on music both on the emotive and symbolic level. The paper will examine the Stabat Mater compositions in the rhetoric context, referring to three main levels: inventio, dispositio and decoratio. The common and individual tendencies will be articulated, evident by the appropriate choice of the key, tempo and rhetorical figures, as well as by some melodic and rhythmic motives or harmonic structure having function of the special illustrative-symbolic signs. The nodal points of the work will be presented as well as the requests of man directed at the Mother (the second part of the sequence) assuming varying intonations of supplication. The function and the message of the compositions are advisable. In contemporary times Stabat Mater of the great composers resound mainly as concert masterpieces in church and secular interiors. The vitality of these interpretations after three hundred years from their creation most certainly bears witness to the composers’ artistry in their works and proves their significance not only for the music of the 18th century but also for the culture and faith of today. Abstrakt Treść poematu Stabat Mater, opisującego postać Matki Bożej cierpiącej pod krzyżem, na którym umiera Jezus – Jej Syn, stała się jednym z uniwersalnych tematów sztuki, zainspirowała kompozytorów różnych wieków i ośrodków, co znalazło swój wyraz w bardzo licznych interpretacjach muzycznych. Spośród ponad 4000 kompozycji do tekstu sekwencji znaczna część to dzieła XVIII-wieczne (najczęściej późnobarokowe), pochodzące z kręgu włoskiego. Chcąc zinterpretować utwór słowno-muzyczny XVIII wieku, nie sposób czynić tego w oderwaniu od teorii afektów i retoryki muzycznej, które uzależniają tekst od muzyki zarówno na poziomie emotywnym, jak i symbolicznym. Referat stanowi próbę oglądu kompozycji Stabat Mater w kontekście retoryki na trzech odpowiadających jej poziomach: inventio, dispositio i decoratio. Wyartykułowane są tendencje wspólne oraz indywidualne, przejawiające się w odpowiednim doborze tonacji, tempa i figur retorycznych, a także pewnych motywów melodycznych, rytmicznych lub struktur harmonicznych funkcjonujących w roli znaku ilustracyjno-symbolicznego. Zaprezentowane zostają punkty węzłowe dzieł oraz prośby człowieka skierowane do Matki (druga część sekwencji) o różnorakiej intonacji błagalnej. Wskazana jest funkcja i przesłanie kompozycji. W czasach współczesnych Stabat Mater wielkich twórców rozbrzmiewają głównie jako dzieła koncertowe we wnętrzach kościelnych lub świeckich. Żywotność tych interpretacji 300 lat od ich powstania świadczy niewątpliwie o kompozytorskim kunszcie utworów oraz o ich znaczeniu nie tylko dla muzyki XVIII wieku, ale i dla dzisiejszej kultury i wiary.

Sign in / Sign up

Export Citation Format

Share Document