Graphic Designer

We designed updated courseware of graphic design in which you will learn all the aspects of graphic designing. We teach you training over below software::

1) Adobe Illustrator 
2) Adobe Photoshop
3) Adobe InDesign
4) CorelDRAW
5) QuarkXPress
6) Acrobat Reader
7) Adobe Bridge

Nel ricordare il centenario della nascita di Albe Steiner (Milano 1913 – Raffadali AG 1974), ci si trova quasi a disagio, visionando l’illustre elenco di intellettuali (Paolo Fossati, Gillo Dorfles, F.H.K Henrion, Italo Calvino,
solo per citarne alcuni). Oggi si commemora un noto grafico italiano, un partigiano della resistenza italiana, formatore di operai e studenti che hanno da lui appreso le nozioni del saper partecipare, de saper fare.
Questa giornata, qui in accademia dimostra la grande partecipazione degli allievi ed ex allievi, del legame che resta fra l’istituzione anche dopo la formazione. Un grazie va al prof. Gianni Latino, che con rigore, disciplina
e passione per la per la grafica ha saputo organizzare una mostra di artefatti che hanno non un metodo ma una ricerca didattica abbinata
alla sperimentazione, che oggi a mio avviso è il percorso da seguire

This research examines the emerging role of sustainable graphic designer. A current gap exists between a small group of highly-motivated sustainable graphic designers and the rest of the industry. The purpose of this study is to identify demand for sustainable graphic design and to understand how prepared graphic designers are to meet this demand. A variety of research methods are used, including job searches, surveys, and interviews. General survey results show a reported increase in the practice of sustainable graphic design, yet few of these designers understand how to practice it. Interviews find that leading sustainable design practitioners are establishing best practices and defining their own roles while they wait for the rest of the industry to catch up. This foundational research suggests that sustainable graphic design is still in the early adoption phase and makes recommendations on next steps to define and build consensus around the practice of sustainable graphic design.

1 , [email protected] 2 , [email protected] 3 ABSTRAK Dunia pendidikan memiliki perkembangan yang pesat, dilihat dari semakin banyaknya sekolah-sekolah yang mengembangkan promosi agar dapat lebih dikenal oleh masyarakat luas. Tujuan penelitian ini adalah merancang media audio visual dalam bentuk video profile agar dapat menjadi daya tarik yang efisien dalam penyampaian informasi dan promosi. SMK Islamic Village Karawaci Kabupaten Tangerang adalah lembaga pendidikan yang berbasis Islami dan terkenal dengan lulusannya yang berkualitas. Namun, sekolah tersebut belum mempunyai media informasi yang lengkap dan efektif tentang profil sekolah tersebut. Selama ini, sekolah hanya memanfaatkan media komunikasi visual, berupa brosur, spanduk, dan lainnya. Maka dari itu dibutuhkan sebuah Perancangan Video Profile pada SMK Islamic Village Karawaci Kabupaten Tangerang, sebagai media promosi serta informasi yang menjadi daya tarik siswa/i baru untuk bergabung di SMK Islamic Village. Dengan menggunakan metode pengumpulan data dan konsep produksi media yang meliputi : preproduction, production, dan postproduction, diharapkan dapat memberikan informasi dan promosi yang efektif dan efisien. Sehingga hasil akhir yang didapat dari penelitian ini yaitu terciptanya sebuah rancangan media penunjang informasi dan promosi berbentuk video profile yang efektif dan sesuai dengan kebutuhan serta mampu meningkatkan target pemasaran sekolah.

la mostra L’altra grafica, tra pubblico e sociale di Gianni Latino e Armando Milani, due protagonisti significativi del panorama italiano della grafica contemporanea.
Attraverso un dialogo per immagini, Armando Milani e Gianni Latino dimostrano che ci può essere una grafica orientata in modo pressoché esclusivo a promuovere il consumo etico delle idee anziché quello più strettamente commerciale di beni o servizi.
Si tratta di quella grafica “altra” che, come spiegava Umberto Eco: «[...] potrebbe essere quella che si oppone alla grafica di consumo, che non invita all’acquisto, che non persuade alla bontà di un prodotto [...]», bensì è rivolta alla dimensione sociale, culturale e civile dell’esistenza.
Una grafica che a volte può rivelarsi fortemente polemica e politicamente schierata, a volte semplicemente emozionale ma sempre e comunque sensibile ai temi del vivere sociale, del consumo responsabile, della convivenza e della condivisione delle esperienze e dei saperi.

IDENTIFICATION OF THE SIGNIFICANT COMPETENCIES IN GRAPHIC DESIGN IN JORDAN: THE MARKET REQUIREMENTS
Graphic design in Jordan is relatively new discipline in Jordan. It was first started with the emergence of academic institutions specializing in the arts commenced in 1980 with the Yarmouk University Arts Department. The level of research in the field of graphic design in Jordan is still poor in terms of quality and quantity. One reason for this is the shortage of scholars. The purpose of this research study is to obtain consensus and validation from a panel of experts in identifying the essential competencies in graphic design. Utilizing a panel of experts from industry representatives, this study will employ written interviews to gather data from Jordanian industry representatives.
The study also aims to obtain the most needed competencies for employment in today’s graphic design industry in Jordan. The findings would assist in re-planning the curricula in Jordanian Universities according to the market requirement.
يُعد تخصص التصميم الجرا فيكي من التخصصات الأكاديمية الحديثة نسبياً في الأردن، حيث بدء التخصص كبرنامج أكاديمي
في قسم )الفنون الجميلة( التابع لكلية الآداب في جامعة اليرموك الذي أُسس عام ) ١٩٨٠ م(. وقد انعكس العمر القصير
للتخصص على أعداد الباحثين والأكاديمين العاملين في المجال، التي ما زالت أعداداً متواضعة جداً، مما أثّر نوعاً وكمّاً على
الأبحاث والدراسات التي تتناول مشاكل التصميم الجرافيكي في الأردن، لا سيما الموضوعات المتعلقة بدراسة متطلبات
السوق.
يهدف هذا البحث إلى التحقق من لجنة من الخبراء في مجال التصميم الجرافيكي للحصول على إجماع لتحديد المؤهلات
والمها رات الأساسية اللازمة لمهنة مصمم الجرافيك، والمطلوب توفرها في مصمم الجرافيك حديث التخرج. كخطوة من خطوات
تطوير تدريس التصميم الجرافيكي في الجامعات الأردنية. قام الباحث بمقابلة عدد من المصممين العاملين في مجال التصمييم
الجرافيكي في الأردن؛ لجمع المعلومات وآرائهم حول واقع التصميم في الأردن وأهم المؤهلات المطلوبة في السوق.

In un’appendice delle NEWS un articolo di Antonello Buccella sull'Abruzzo e i rischi idro-geologici che minacciano il suo territorio. La rubrica su ARDUINO, a partire da questo numero, si occuperà di un EDA realizzato esclusivamente per Arduino: Fritzing. La recente storia delle normative tecniche sarà il nuovo argomento della rubrica Basi per il disegno e la progettazione. Nunzia Nullo ci presenta per la rubrica Cinema & Animazione il film “The Divergent Series: Insurgent”. La Designer's story di questo mese riguarda un personaggio straordinario: Ettore Bugatti, il papà dell’automotive. La rubrica Intervista ha due ospiti questo mese: Robson Jacobsen e Matteo Rubboli. L’angolo dedicato ai LIBRI ospita un testo francese sulla stampa 3D. Nicola Amalfitano parla del Laudario di Cortona nella rubrica Musica. I distanziometri ad onde saranno il tema della rubrica New hardware for CAD. Il Corso di orientamento alla BIM si occupa delle procedute sullo scambio di dati. Il Corso di base per SketchUp analizza il comando OFFSET. Fabrizio Pieri nella rubrica dedicata a LE BASI DI QGIS parla della  rappresentazione della Terra ed i relativi Sistemi di Riferimento. Chiude l’edizione un tutorial di Antonello Buccella sulla realizzazione di filmati di presentazione per modelli 3D realizzati con SketchUp.

The research deals with the development of graphic design in Slovakia in the circle of selected graduates of the Department of Visual Communication and related actors who participated in the creation of the scene. The aim of the thesis is to describe and define a distinctive type of discourse that was created in 1989 (and led to the current setting of education and type of production). The second aim of the research is to capture the beginnings of defining the field of graphic design in Slovakia and its professionalisation in education, practice and institutions. The research is carried out by the method of empirical collection (interviews, period materials, etc.) from the perspective of selected graphic designers (graduates of the field) of four generational circles and the circle of selected founders of the field before 1989. The main output is theoretical research and a written part of the thesis elaborated into the prototype of the publication. Includes basic/collecting research and analytical/ applied research of topics. In the text, the generational phenomena and tendencies that have been formed in the circle as well as the external and internal contexts (causes) that influenced their development are described chronologically. Based on these findings, some characteristics of discourse are evaluated as an inclination to an alternative concept of design against „dominant“ production, authorial approach and professional definition, or taking into consideration mainly cultural and aesthetic quality of graphic design. The result of this work is the first continuous research of a similar kind in the context of Slovakia. It outlines the confrontation of discourse in the reflection on the wider meaning of the circle of graduates in society and the current situation of Slovakia.

The work presented below is part of the results of a research project developed at Polytechnic University of Madrid. The Architecture Competitions reveal the aspirations of the participants to present the most attractive proposal that will gain the attention of the jury, in addition to responding to the problems and motivations that originate the call.The graphic communication becomes the link between the viewer and the foreshadowing of something that could become a constructed project. By analysing the graphic instruments used in several calls for architectural competitions supervised by the COAM, the aim of this paper is to show the role of visual communication in reading and evaluating a proposal. The tool of the diagram allows to visualize and find the graphic variables most used by the competitors, as well as to specify which of them are drawn on the awarded projects.

KEYWORDS: COMPETITION, PANEL, COAM, GRAPHIC REPRESENTATION, DATA VISUALIZATION

«"رضا عابدینی"، طراح گرافیک برجسته و مدیر هنری متولد سال ۱۳۴۶ در تهران است. او دانش‌آموختۀ رشته طراحی گرافیک از "هنرستان هنرهای تجسمی پسران تهران" و کارشناسی نقاشی از "دانشگاه هنر تهران" است. عابدینی از اواخر دهۀ شصت خورشیدی فعالیت حرفه‌ای خود را آغاز کرده و در زمینه‌‌های مختلفی مانند طراحی نشانه، پوستر و طرح جلد کتاب آثار بسیاری خلق کرده و به‌عنوان تأثیرگذارترین طراح گرافیک چند دهۀ اخیر در هنر ایران شناخته می‌شود. او عضو "انجمن صنفی طراحان گرافیک ایران" و "انجمن بین‌المللی طراحان گرافیک" است و توانسته جوایز جهانی و ملی زیادی از آن خود کند. عابدینی به‌عنوان یک هنرمند فرم‌گرا، بیشتر به‌خاطر تکیه بر تایپوگرافی ایرانی که خاستگاهش خوشنویسی و فونت‌های فارسی است آثارش را طراحی می‌کند و شاخص‌ترین چهره در این زمینه در گرافیک نوین ایران محسوب می‌شود که جریانی تأثیرگذار را در گرافیک ایران ایجاد کرد. او بیش‌از یک دهه است که به هلند مهاجرت کرده و خارج از ایران به طراحی گرافیک مشغول است، اما تأثیرات او بر جامعۀ گرافیک ایران همچنان باقی است. این گفت‌وگو در 1385 یعنی همان سالی که این طراح گرافیک موفق شد جایزۀ مشهور "پرنس کلاوس" هلند را از آن خود کند با او انجام شده است.»

Art and design educators have long sought playful, fun and explorative pedagogies that encourage students to be more open and engaged with creative learning. In fact, playfulness has been shown to foster students’ creativity by providing psychological safety and freedom (Gude, 2010). By “playing” throughout the creative process, students become more comfortable taking risks, learning from failures and exploring alternatives. Today, the emerging visual cultures of new media are demonstrating the potential of fun alternative creative processes. As a visual designer, my attention is drawn to internet memes. Internet memes—images, videos, websites, activities, GIFs, jokes and rumours that people share online—connect people in “complex, creative and surprising ways” (Shifman, 2014, p. 12). Funny visual outcomes aside, the meme-making process is inspiring, as it constitutes a fun-making experience that drives memers to voluntarily participate in the creative process. In this article, I explore the features that make meme-making a fun creative process and assess how we could integrate critical meme-making into design pedagogy to foster a more engaging and resourceful design classroom.

We investigated whether design experts or laypersons evaluate webpages differently. Twenty participants, 10 experts and 10 laypersons, judged the aesthetic value of a webpage in an EEG-experiment. Screenshots of 150 webpages, judged as aesthetic or as unaesthetic by another 136 participants, served as stimulus material. Behaviorally, experts and laypersons evaluated unaesthetic webpages similarly, but they differed in their evaluation of aesthetic ones: experts evaluated aesthetic webpages as unaesthetic more often than laypersons did. The ERP-data show main effects of level of expertise and of aesthetic value only. There was no interaction of expertise and aesthetics. In a time-window of 110–130 ms after stimulus onset, aesthetic webpages elicited a more negative EEG-amplitude than unaesthetic webpages. In the same time window, experts had more negative EEG-amplitudes than laypersons. This patterning of results continued until a time window of 600–800 ms in which group and aesthetic differences diminished. An interaction of perceiver characteristics and object properties that several interactionist theories postulate was absent in the EEG-data. Experts seem to process the stimuli in a more thorough manner than laypersons. The early activation differences between aesthetic and unaesthetic webpages is in contrast with some theories of aesthetic processing and has not been reported before.

Kita sudah sering mendengar mengenai proses kreatif dalam proses desain. Kita juga sudah kenyang dengan wacana mengenai hak kekayaan intelektual. Bahkan, kita juga mungkin sudah sering mendengar dan mengutarakan sendiri betapa aspek kreatif adalah hal yang tak ternilai dari suatu kerja desain. Lalu apa yang belum banyak kita dengar?

Since 2019, 74% of the marketing content of most brands contained a visual element.
Today, more than 65% of brands use infographics for marketing purposes. Hence, the demand for freelance graphic design is increasing day by day. Most businesses are looking for creative Graphic Designers. In the graphic design industry, mostly both the designer and clients prefer freelance contracts and work on a per-project basis system. Eiliana is one such marketplace where clients looking for Graphic Designer and freelance graphic designers looking for freelance graphic design work, meet each other. Eiliana provides a smooth experience for both clients and freelancers with its premium features and facilities.
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Nas últimas décadas, é notório o engajamento de uma parte considerável dos designers gráficos em atividades que possibilitam o emprego de seus conhecimentos e estratégias em prol de interesses socialmente relevantes. Esses profissionais constroem suas carreiras em torno de interesses louváveis em si mesmos, contribuindo para o desenvolvimento de comunicação acessível, justa e democrática. Contudo, é importante destacar que "não apenas o design voltado ao protesto, à defesa de direitos, à prevenção ou à informação, mas toda comunicação gráfica voltada para o público deve ser conscienciosa" (Heller, 2003, p. 11, tradução nossa). Desse modo, uma área que utiliza as competências dos designers gráficos constantemente deve ser considerada com especial atenção na reflexão sobre a ética de trabalho desse profissional: a atuação junto ao mercado.

We designed graphic designing courses in Delhi which is teaches under the supervision of experienced trainers.  Our main focus is to provide graphic designing knowledge to all students  so that they can get desired job profile in any company.