Canon

This proposal is about the visual semiotics in the specific context of graphic design.Graphic design has become one of the most important communication disciplines and its expression discourses have incidence in all the cultural contexts: politics, advertising, education, information, recreational activities and even environment and special spaces. That is the main reason to reflect in the several meanings that society is receiving from the visual messages and the different kind of interpretations that people is doing constantly. This process is changing the way of understanding the world, the other and phenomena like images and objects. Also the designed objects and its messages make a great impact in different spheres. This has been described as the image phenomenon but it is more complex because, since the semiotic point of view, in the graphic design are combined the morphologic, typographic, chromatic and photographic codes, some of them emerge from established languages and others become languages or meta-languages. Graphic design cannot be studied since syntagmatic concepts, its meaning modalities belong to paradigmatic dynamics; neither can be understood since the communication semiotic, it is a signification semiotic target. This is comprehended from visual grammar ideas to graphic discourses, all of them have been made conditional from the modalities of meaning: conceptual, connotative, social, affective, reflected and thematic meanings. The results of this reflection will create the main basis from the visual communication and its transcendence to semiotics as a frame of reference for the humanities.

Australasian Journal of Educational …, 2006

The ability to interpret information from any source, and increasingly visual sources, is a vital skill for all graduates in contemporary culture. The development of the skills to read visual texts and communicate that understanding requires a certain level of critical thinking and ...

The international journal of visual design, 2021

Design representation is one of the key domains of design practice. Understanding perceptual dominance helps to evaluate systematically the interplay between intentions and occurrences of design representation. The objective of this research is to learn perceptual dominance from a designer's perspective and to use it in design representational practice for the viewer's benefit. The research considers a correlation between perception and prediction; therefore, it experiments with perceptual dominance based on the context of the viewer's predictability. Without prior coaching, 282 participants were asked to add only one item to arbitrary drawings composed of a few elementary planes accompanied by a spontaneous line. The participants' reactions were analyzed to discover any patterns displayed by that group of viewers. The research identifies a pattern in which viewers engage with "thematic thinking" across uncertainties. Moreover, the viewer's decision corresponds to generalization or semantic sense as simplicity. Finally, for design representation purposes, it is logical and evident that mere arrangements or associations as syntactic grammar can be transformed into explicit representations through the incorporation of semantic sense into the syntax, such as contextualization or a thematic approach. Essentially, such an idea corresponds to the methodological impulse to create simplicity, with which people more naturally engage. Such discussions are expected to be accessible for and applicable to creative design processes across a wide spectrum.

Semantics is the study of meaning in language. This clear and comprehensive textbook is the most up-to-date introduction to the subject available for undergraduate students. It not only equips students with the concepts they need in order to understand the main aspects of semantics, it also introduces the styles of reasoning and argument which characterize the field. It contains more than 200 exercises and discussion questions designed to test and deepen readers' understanding. More inclusive than other textbooks, it clearly explains and contrasts different theoretical approaches, summarizes current debates, and provides helpful suggestions for further reading. Examples are drawn both from major world languages, such as Mandarin Chinese, Japanese, Arabic, Spanish and English, and from minority ones. The book also highlights the connections between semantics and the wider study of human language in psychology, anthropology and linguistics itself.

Fartas, 2023

This booklet provides an introduction to the field of semantics and aims to give university students a brief summary of the main concepts and theories. Semantics is the study of meaning in language and encompasses a wide range of topics, from word meanings and sentence structures to the interpretation of texts and discourse. The purpose of this book is to help students understand the fundamental ideas of semantics and prepare them for exams and other assessments. The book is structured in a way that allows students to work through the material systematically. The booklet starts with an overview of semantics followed by an important theory in semantics namely compositionality theory , it covers also some related topics of the field including types of meaning, figures of speech and finally lexical relations. While this book is not meant to be a comprehensive guide to semantics, it is designed to give students a solid foundation in the subject and help them develop critical thinking skills. Whether you are new to the field or looking to refresh your knowledge, this book is a valuable resource for anyone studying semantics. However, it is primarily made for students of Ibn Zoh university ,AitMelloul , who could not attend to the sessions of the module, hoping this booklet would put them in the picture and making things clear for them.

Designers engage with words, typographically expressing them with purpose and poise. Typography is a process, a refined craft making language visible. Designers shape language with type and give words life and power to speak text fluently. Letterforms and their supporting characters are simple shapes that do so much. With distinct voices and personalities, type whispers delicately and shouts loudly. Communication lies at its core. Type is commanding and beautiful one moment, analytic and instructive the next. It is dramatic, whimsical, modest, and extravagant. Typographic practice (and those dedicated to it) gives spoken and written language vitality across time, generations, and cultures.

IEEE Transactions on Professional Communication, 1990

The most recent challenge in the ever-shifting role of technical writers is the graphic interface. It shares several features with both traditional documentation and online documentation, but it also makes its own unique set of demands. Moreover, even the characteristics it has in common with established technical writing formats are raised to new levels: because the whole rationale of the graphic interface is to sidestep language as much as possible, those few linguistic elements which it does incorporate (menu titles, button labels, and the like) carry abnormally heavy demands. This paper presents a series of ten principles to help cope with this new challenge-dealing with lexical, syntactic, and display issues of writing for the graphic interface.

Conference Proceedings of the Academy for Design Innovation Management, 2019

Understanding the value of design in industry is a contemporary issue both in academia and industry. Many studies have been conducted using historical data, macro-level indicators, questionnaire-based tools, and abstracted post-hoc accounts of the value of design. However, very little research attempts to uncover direct insights from real-world practical experiences of designers in industry and how they negotiate the design-value space. This study uncovers rich qualitative, pragmatic considerations of how the value of design is operationalized in situ by design practitioners in industry through a series of 6 in-depth interviews. Initial results indicate that different designers undertake a series of different context-dependent strategies: these range from changing the narrative of the contribution of design based on the KPIs of the audience, to taking a non-action stance allowing for consequences and pressure from external stakeholders to help drive design in practice, as well as pe...

Journal of Design Sciences and Applied Arts (Print), 2020

In the rapidly changing world of technology, sciences and the visual arts, there has begun a cultivating interest in the creative process as a fundamental human requirement, especially in the fields of art and design. When considering the field of conceptual typography, one must be made well aware that the letter, which is the basic component of the word, has become of two importances; which are preserving the readability of the written word and trying to achieve a communicative process that stimulates the receiver's senses. The written word thus transforms from being "simply" a visual form of communication, and a symbol indicating a certain object that conveys meaning, into an entity of its own, that delivers a certain message with a certain function that may arouse feelings and emotions in its receiver's psyche. This process is capable of achieving visual satisfaction due to the honesty and simplicity found in the structural composition of its formation, as it communicates with the receiver to the point of persuasion, motivation, and curiosity to participate in decoding the design and reading the meanings hidden within. The importance of studying conceptual typography's ability to persuade its audience is largely due to the scarcity of existing research concerned with the field in general and with their symbolic connotations in particular. The research focuses on answering the following question: To what extent could the field of conceptual typography stand to benefit from the symbolic and formal connotations of Arabic letters in achieving and increasing persuasion? And the research aims to achieve persuasion by taking advantage of the analysis of Arabic calligraphy and finding innovative symbolic design solutions that confirm the significance of the figure. To this end, the research follows the descriptive analytical methodology based on gathering information to build its theoretical framework and design a framework as a guidelines that helps the graphic designer in achieving the symbolic significance of typography and achieving persuasion by presenting some examples of works designed by the researcher.

This practical coursebook introduces all the basics of semantics in a simple, step-bystep fashion. Each unit includes short sections of explanation with examples, followed by stimulating practice exercises to complete the book. Feedback and comment sections follow each exercise to enable students to monitor their progress. No previous background in semantics is assumed, as students begin by discovering the value and fascination of the subject and then move through all key topics in the field, including sense and reference, simple logic, word meaning, and interpersonal meaning. New study guides and exercises have been added to the end of each unit (with online answer key) to help reinforce and test learning. A completely new unit on non-literal language and metaphor, plus updates throughout the text, significantly expand the scope of the original edition to bring it up-to-date with the modern teaching of semantics for introductory courses in linguistics as well as intermediate students.