Visual Communications

Mark Roxburgh’s research over the past decade has focused on the evolving conceptualization, discourse and development of research methodologies for design. This has lead him to question the historical pattern of design whereby the methods and epistemologies of other disciplines are used without addressing the differences between them and design. Design is a complex activity enmeshed in many aspects of our lives. In his article in Design Issues (1992), ‘Prometheus of the Everyday: The Ecology of the Artificial and the Designer’s Responsibility’, Manzini foregrounds the relational nature of this complexity by conceiving design (the artificial) as having an ecology. Roxburgh has written about these matters but his critique has conformed to the conventions of academic publishing and he has found articulating aspects of such complexity constrained by the limits of written language. Increasingly, in design, visualization is used to map complex relationships between things, ideas and actions. In this essentially visual essay, Roxburgh is attempting to graphically identify and explore the relationships of some of these concepts in a manner that echoes these trends and his own research practice. He is aware that sketches of complex phenomena, through a process of interpretation and abstraction, become somewhat reductive. The moments he draws on in crafting the depictions of his views are presented episodically rather than chronologically.
Roxburgh sketches out three key historical conceptions of design and the ramifications they have had on our perceptions and practice of it. He depicts these conceptions as being drawn from traditions outside of design and suggests that an alternative strategy may lie within design itself. This strategy calls for an engagement with what he calls the aesthetics of research. He suggests that it is imperative that design encompasses an aesthetic engagement with the world at all levels, and most importantly at the point of design research and conception, for our experience of design is fundamentally aesthetic. He is aware that there is an apparent irony in his use of non design theories to frame aspects of his view but this is a necessary strategy to critique the ontological assumptions inherent within the conceptions of design that he characterizes (one could even say ‘caricatures’). Roxburgh takes the position that there is nothing essentially given about design consciousness. Rather, the characterizations of design consciousness that he outlines all carry (usually implicit) ontological assumptions that may be inappropriate and/or limit design practice. The depiction of design that he offers is based instead on an alternative ontology. While this cannot be empirically verified (no ontology can), he proposes it as a way of extending and critiquing usual conceptions of design practice. No doubt this in turn will be found to have shortcomings of its own.

Fundamentally, with every design solution, we are trying to present information in the best possible way to make communication easier. n this paper, we will be talking about functionality of layouts and how to ameliorate them by following a set of iterative protocols. We will be using an existing website layout as a case study as we procedurally try to enhance it by applying these protocols.

The process of translating messages into images or facilitating visual communication is an activity that involves responsibility towards the public on the side of the author. Even when occupied with commercials, corporate identity, or other so-called non-political goals, designers are actually making decisions towards the preservation and reinforcement of social and cultural assumptions. Since the days of the Modern Movement there has been a great deal of debate on questions as to who the actual clients are and who should take part to the negotiation process from which design emerges. A few years ago when the Helvetica typeface, one of the icons of the modernist search for the standard, celebrated its fiftieth anniversary, these questions were revived, this time without attempts to agree on a set of rules. This seminar draws on these questions, which developed alongside the whole history of the graphic design profession, and explores notions as design ethics, social commitment and public role of the designer.

The seminar featured a presentation by Silvia Sfligiotti of Alizarina Milan on the role of the user in the design process—do designers work with, for or against the users? Annelys de Vet of the Sandberg Institute Amsterdam and Annelies Vaneycken of Trans-ID Brussels also presented on their recent works, in which visual communication is used as a tool to chart and highlight tensions and cleavages in culture and society. The seminar was chaired by Gabriele Oropallo, and ended with an open round table discussion with the participation of Ken Garland and Richard Hollis.

Ce cours fait partie du séminaire "La communication visuelle et audiovisuelle" dans le cadre de la licence (3ème année) "LLCER - Communication et Formation Interculturelles" de l'INALCO à Paris.

Le séminaire "La communication visuelle et audiovisuelle" est composé de deux parties :
Première partie : "La communication visuelle : Le visuel publicitaire"
Deuxième partie : "La communication audiovisuelle : Analyse du spot publicitaire".

Dans cette première partie sont traitées les problématiques suivantes :
1) La communication visuelle - une présentation générale.
2) Le visuel publicitaire : définition et exemples.
3) Analyse sémiotique du visuel publicitaire.

In 1947, Czech designer Ladislav Sutnar and Danish architect Knud Lönberg-Holm published three articles in Interiors magazine introducing their theories of modern visual communication to the professional design community in the United States. These articles, subsequently released together as "Designing Information," were informed by the authors’ work at Sweet's Catalog Service, a dominant publisher of industrial catalogs at the time. At Sweet's, Lönberg-Holm and Sutnar developed standards for product information centered on the concept of “visual flow.” This article examines vision and flow in "Designing Information," analyzing how the authors applied ideas from diverse realms of midcentury discourse—including visual education, Gestalt, and Behaviorist psychologies—to the context of American business and industry.

Esta es una lección publicada originalmente en el portal del INCOM de las UAB en 2006, y corresponde a un texto didáctico (Lección) para introducir al lector a los objetos y problemas de la semiótica de la imagen (SI).
Entendemos por SI el estudio del signo icónico y los procesos de sentido-significación a partir de la imagen. El estudio de la imagen y las comunicaciones visuales en realidad desborda lo estrictamente pictórico o visual, tal como pueden ser los análisis de colores, formas, iconos y composición, para dar paso a los elementos históricos y socio-antropológicos que forman parte de la SI.

Menstruation is a natural biological process and an integral part of a woman’s life. In India, this process is commonly known as periods, and except few pockets of the country, the Indian society considers menstruation as impure and attaches many stigmas to it. Society imposes various restrictions on the menstruating woman, including seclusion and ban on entering religious places. Television commercials of sanitary napkins have a great role to play in the formation of opinion, perceptions and attitudes about the periods. But ads sometimes evade dealing with the subject directly and quite creatively tend to spread misinformation about periods. In this framework, a qualitative, as well as quantitative content analysis of total 78 television ads of 12 popular Indian brands of sanitary napkins, has been carried out based on various parameters like use of the word period, public display of pads, fluid color is shown, a depiction of premenstrual syndrome, storyline, tag line, social taboo, social message etc. The main objective of content analysis is to trace out how these advertisements are portraying this complex subject of social taboo through visual narratives and convince their audiences to buy their particular products.
Keywords: Menstruation, Social Taboo, Visual Merchandising, Periods, Social Stigma, TVC

In the digital news environment, amateur images—citizen photojournalism—appear next to professional photojournalists’ photos, contributing to a probable tension and sense of professional threat among professional photojournalists. Using the coorientation approach, this study explores the ethical values of citizen photojournalists and professional photojournalists, the extent to which they agree about these values, how accurate they are in assessing each others’ values, and how congruent they perceive they are with each other.

The selfie generation is a term commonly used to describe people born after 1981 because of the supposed proliferation of selfies they take daily. If Selfies indeed define a generation of people, then they require close consideration as an evolution of social interaction. This interdisciplinary study focuses on photography as performance of looking involving social relationships between people. I ask How might selfies suggest a transformation of everyday social relationships? The selfie as active photographic performance is first examined through illustrative ethnographic observation. Then as performative photographic object the selfie is examined as interactive (Kress and Van Leeuwen's, 2006; 2009) visual communication. Finally, the performative spaces of the selfie in process(from initial performance, to object and as it is shared and moves between private and public spaces) is examined as relationships of proxemic perception(Hall, 1966).For the selfie generation the private spaces in social relationships has perhaps evolved not simply because of changes in photographic technology, but also new spaces of socialising where private and public contexts are often blurred and unfixed.
Paper is open access here; http://vista.sopcom.pt/edicao/300

Copy writing is a process where advertisers convey the product information to customers. Copy is created to fulfill the needs of its user. In the market, copy should also represent the brand vision that companies want to communicate to their customer. Companies can create strong customer relations and recall by creating memorable messaging. Copywriting is the use of creativity in words or ideas with the focus of selling products through the creation of brands. For copywriting to be effective, one has to be original and interesting in order to influence the buying decisions of millions. In this paper, current theories of copy and models of the copy process, importance of copy in advertisement are discussed.

This chapter consists of two main sections. In the first I consider the literature defining digital memes and suggest that digital memes can be conceptualised as an everyday social interaction involving movement, and need to be understood as groups of images. I also define selfies as digital memes. In the second section I draw on the previous chapter to locate digital memes as ideas of looking involving self, others and community. I then locate digital memes within the literature about visual speech and conversation.

Dopo aver ripercorso la storia del fumetto italiano dalle origini ai giorni nostri, l'elaborato si concentra sul ruolo ricoperto dai social network nella cultura contemporanea, sulle opportunità offerte ai creativi dai servizi del web 2.0 e sul modo in cui il nuovo linguaggio della rete e il linguaggio del fumetto intrecciano i loro percorsi.
E' presentata inoltre un'analisi visiva del lavoro di due fumettisti "di nuova generazione" su Instagram, con l'intento di mostrare un nuovo approccio al mestiere stesso e di evidenziare l'influenza delle caratteristiche della piattaforma sui contenuti qui pubblicati.

Resumo os livros infantis, de modo geral, antecipam o que será o livro no futuro. o que de mais interessante existe em termos editoriais no que diz respeito a materiais, formatos, cortes especiais e acabamentos, pode ser encontrado nos livros infantis. Que elementos podem distinguir um livro de artista feito para crianças de um livro infantil comum? É possível fazer essa distinção? este texto aponta alguns temas comuns nessas obras, que também estão presentes em livros de artista: os livros para colorir, o alfabeto, histórias fantásticas, jogos e brincadeiras. A capacidade de imaginar e se encantar diante de uma obra de arte pode ser iniciada por meio do contato com as obras de Bruno munari, Remy Charlip, Claude Closky, entre outros.

The term 'sign' as used in this work, in relation to road architecture, refers to the nonlinguistic symbols used as linguistic landscape to communicate intended information in form of instructions, warnings, directions, etc. to road users. The study of signs in semiotics is all encompassing, involving the inference of meaning from signs and symbols using interpersonal, cultural, contextual and personal experience. Semiotics' preoccupation is the study of all that can be taken as sign. It is noted that in spite of the use of the road signs in the Nigerian cities and suburbs, many road mishap are still being recorded. This study, guided by semiotics principles, and using gestalt theory of visual perception, examines the communicative effectiveness of road signs in Nigeria, using Akure metropolis as case study. Thus, the paper examines the effectiveness of road signs as linguistic landscape (information agent) for road users in Nigeria using the Akure metropolis in Ondo State as the case study. Through a survey research method, the study, interviewed 260 respondents who were mainly made up of: commercial drivers, private drivers and pedestrians in order to obtain their opinions, attitudes, feelings and dispositions towards road signs as linguistic landscape. The study reveals that most road accidents were due to the flagrant disobedience of the road and traffic signs by the motorists and pedestrians. The incessant road mishap calls for serious questions on the effectiveness of the road signs as a vehicle of information dissemination to road users.

This study analyzes Google Doodles (the decorative changes made to the Google logo) as a potential influence on the company's corporate visual identity and as a means through which Google connects to and identifies with the public. This study finds that Google Doodles influence the flexibility of the company's corporate visual identity allowing Google to emerge as more than an anthropomorphic brand: the defined human characteristics and likeable personality traits change its own logo. This study calls this new strategy logomorphism. As a result, it helps the company to build a deeper and more personal connection with its users.

The paradigms of old media are replaced by new forms of creativity and delivery of content by those who strive to enhance innovative ways of communication and learning based on universally accepted guidelines. These ubiquitous rules of design are what scholars in the field of call as the principles of design. Particularly when instructional effectiveness of a new message is under close lens, instructional designers unanimously accept and implement these design principles in the process of planning and designing products for consumers and/or learners. According to Costello, Youngblood, and Youngblood (2012), “the principles of design can be thought of as the recipe for combining elements within a visual space” (p. 71). In this digital era where old theories, pedagogies, and methodologies of learning and instruction are superseded by new means and technologies of communication and learning, what calls for is an outside-the-box type of thinking that should shake these outdates models of normal science from its grassroots.
As such, it is impossible to underestimate the role of today’s digital revolution in education, especially with the surge of the Internet and the World Wide Web, in addition to other emerging multiple forms of media through which information is disseminated and shared in an online, digitized network and in an open system. With the digital revolution breaking through, therefore, instructional designers need to keep seeking new forms of design, communication, and learning with various forms of instructional media and innovative, technology-rich design techniques. Given this educational milieu in an ever-growing digital world of learning and instruction, this paper will focus on eliciting some of these most innovative and outstanding instructional design (ID) products and evaluate their effectiveness in learning and teaching environments based on an array of ID principles generally accepted by the scholars of the field.

ÖZ
Toplumsal düşünüşün en kesif ürünlerinden birisi olan mizah, Türkiye’de basın yayın faaliyetlerindeki zayıflıklarıyla bilinen milliyetçi camiada bir filiz vermiş ve Çaylak Dergisi yayınlanmıştır. Çaylak Dergisi, milliyetçi kesimlerin ideallerini, sevgilerini, öfkelerini, hayata bakış ve çözüm önerilerini mizah üzerinden aksettirerek, anlamamıza yardımcı olan yayın organıdır. Soğuk savaşın etkisi altında kalan 1970’ler Türkiye’sinin düşünce yapısını ve kültürel değerlerini Çaylak mizah dergisi üzerinden incelemek mümkündür. İdeolojik mücadelenin en sert şekilde yaşandığı bir dönemde, güldürürken düşündürerek fikri mücadeleye dâhil olan Çaylak, sol kesimin tekeline bırakılmış mizah sahasında Türk milliyetçiliğinin sesi olmuştur. Çaylak’ın çıkışı, Türk milliyetçiliğini toplumsal ve kültürel hayatın her alanında daha görünür hale getiren ciddi bir yükselişin aracı ve işaret fişeğidir. Bu çalışmada, milliyetçi kesimlerin 1970’lerin Türkiye’sindeki duygu ve düşüncelerini farklı dil ve üslubuyla sunan mizah dergisi Çaylak incelenecektir.
ABSTRACT
Social thought of the discovery that one of the products of humor, gave a sprout in the nationalist community known for its weakness in media activities in Turkey and Çaylak journal has been published. Çaylak Journal, the ideals of the nationalist circles, their love, anger, humor, outlook on life and mirror the curving through the solutions, that help us understand the publication. Under the influence of the Cold War 1970s, Turkey has thought possible to examine the structure and cultural values through the Çaylak humor journal. At a time when the ideological struggle experienced the hard way, Çaylak journal as laughter and thinking that joined the intellectual struggle, Humor sites on the be left have a monopoly of the leftists part has been the voice of Turkish nationalism. The output of the Çaylak, making Turkish nationalism more visible in all areas of social and cultural life is a significant rise tool. In this study, it is offering thoughts and feelings of nationalist circles in Turkey of the 1970s with a different linguistic and stylistic humor journal Çaylak will be examined.

2 2013), and the broader public was analysed by approaching the digital memes with theories of proximity (Hall, 1956). The analysis of the 66 PGUF memes shows that ‘viewers’ and ‘subjects’ are both active agents and objects of observation. The performativity and exaggeration in the images suggests that women contributors use humour (the joke) to simultaneously acknowledge and subvert conventional ideas about feminine appearance. The concept of ‘conversation’ is used to theorise how memes help members of online communities communicate as they engage in what I describe as a ‘semeful socialibility’. The findings suggest people communicate through photographic digital memes by use of active semes (signs). Close observation of semes suggests that visual communication involves practices of looking (rather than viewing) that are active, interactive and reactive. Communities of ‘produsers’ of digital memes are involved in an interactive visual conversation. This visual social interaction al...

This paper reports on a series of experimental research projects undertaken over several years by groups of visual communication design students with the Customer Experience (CX) team at Westpac Bank, Australia's second largest bank by market capitalisation. The premise for running these projects was simple: "what value could the visualisation and research skills of visual communication designers bring to the CX design process?" In reporting on these projects the authors argue that the problem solving model of design is increasingly redundant in service economies, although they note it is a pragmatic way of describing the complexity of design scenarios. More significantly the authors argue that with the growing trend in the use of visualisation techniques, for research and communication in service enterprises, that visual communication design is now the meta design discipline.

Culture is nuanced and complex. Knowing what factors to consider when engaging in international user experience design (I-UXD) is thus no small undertaking. Technical communicators, information designers, and user experience (UX) professionals can benefit from applications that help identify aspects affecting usability and design in different cultural contexts. A modified version of script theory (from cognitive psychology), combined with a targeted application of prototype theory (from linguistics), can provide a mechanism for understanding the settings in which cultures use communication products. This entry explains how the combination of these two theories can help address this situation.

Research on visual effects involves a fertile and new expanding area of scholarship.  This essay describes the variety of cognitive, attitudinal and behavioral areas of study in visual effects research. It seeks to understand the dimension of scholarship in visualization effects and therefore connecting visual communication research to the mainstream communication field.  It offers insights into functions and effects of visual content, as well as it informs challenges and research trends in visual studies. Although the literature on visual effects has a relatively rich tradition, increasingly contemporary scholars are working to provide striking new insights about how imagery interacts with other modalities of information, thus inspiring a new dimension of visual effects research and linking it to newer forms of communication inquiry.

ÖZET
Türkiye Cumhuriyeti Sağlık Bakanlığı tarafından 10 Mart 2020 tarihinde ilk Covid-19 vakası, 1 Nisan 2020’de ise söz konusu vakaların tüm Türkiye’ye yayıldığı açıklanmıştır. Bu süreçte tüm kurumlar, kuruluşlar, markalar ayakta durmak ve yeni normalde kendilerine yer bulmak amacıyla krizin çözülmesi için yeni arayışlar içerisine girmişlerdir. Reklam sektörü de bu süreçte çözüme yönelik uygulamalarla markalara hizmet eden başlıca sektörler arasında yerini almıştır. Geleneksel reklamlar bir yandan devam ederken daha önceden de sosyal medya pazarlamasında yer edinmiş olan ve dijital içerik üreten etkileyiciler (influencerlar) yaşanan salgın sürecinde daha fazla ön plana çıkmıştır. Bu araştırma ile söz konusu salgın sürecinde sosyal medyada dijital içerik üretimi ve pazarlamanın rolünü ortaya koymak amaçlanmıştır. Bu bağlamda markaların etkileyiciler ile iş birliği araştırılmış, yeni normalde ve gelecekte pazarlama sektörünün nasıl yön değiştirebileceği konusunda çeşitli veriler irdelenmiştir. Çalışmada nitel araştırma yöntemlerinden gözlem ve literatür taraması modeli kullanılmıştır. Araştırma sonucunda, Covid-19 salgını sürecinde markaların reklam sektöründe geleneksel medya ile birlikte sosyal medya ortamlarını daha aktif olarak kullandıkları, bu süreçte etkileyicilerin, içerik üretiminin ve tüketicinin pazarlama sektörü üzerindeki etkilerinin arttığı, sosyal medyada canlı yayın kullanımının popüler hale geldiği ve marka iş birliğinin aktif olarak kullanıldığı görülmüştür. Bununla birlikte, Covid-19 salgını süreci sona erdiğinde, üretilen içeriğin niteliğine göre bu artışın belli bir oranda doğal bir biçimde azalacağı ama söz konusu içerik üretiminin böyle devam edeceği ve gelecekte asıl kalıcı olanın hem canlı hem de kurgulanmış ya da montajlanmış formatta videolar olabileceği sonucu öngörülmüştür.
Anahtar sözcükler: Covid-19, Dijital İçerik Üretimi, Etkileyici Pazarlama, Etkileyici, Sosyal Medya.

ABSTRACT
Republic of Turkey Ministry of Health, Covid-19 first case on 10 March-19 by 2020, and April 1, 2020 are described in the said case is spread all over Turkey. In this process, all institutions, organizations, brands have embarked on new quests to resolve the crisis in order to stand and find a new place for themselves. In this process, the advertising industry has taken its place among the main sectors serving brands with solution-oriented applications. While traditional advertisements continued on the one hand, influencers, who had a place in social media marketing and produced digital content before, came to the fore even more during the pandemic process. With this research, it is aimed to reveal the role of digital content production and marketing in social media during the pandemic process. In this context, the cooperation of brands with influencers has been investigated, and various data on how the marketing sector can change direction in the new normal and in the future has been examined. Observation and general literature review model among qualitative research methods were used in the study. As a result of the research, during the Covid-19 pandemic process, brands used social media environments more actively together with traditional media in the advertising sector, in this process, the effects of influencers, content production and the consumer on the marketing sector increased, the use of live broadcasts in social media became popular and the brand It has been observed that cooperation is used actively. However, when the Covid-19 pandemic process is over, it is predicted that this increase will naturally decrease to a certain extent according to the nature of the content produced, but the content production in question will continue as such and the main permanent in the future may be videos in both live and edited or montage format.
Keywords: Covid-19, Digital Content Production, Influencer Marketing, Influencer, Social Media.

This is an unpublished essay exploring the act of "under" and "overlooking" the people we do not have use for unless needed. Interested in the sociological, psychological, and cultural phenomena of  “invisible” people from the perspective of symbolic interactionism, I use photography as a medium to explore this phenomena.

Strickler argues that the growth of visual communication as an academic discipline can only occur if there is an “empirical bridge between theory and practice” (1999: 38). Such a bridge is also a precondition for the evolution of visual communication as a forward looking and reflective industry as opposed to one that simply responds to the dictates of the market. However, building this bridge is no easy task; visually articulate and practically oriented students are reluctant to engage with theories that may challenge their passionately held understandings of design. All the more so when the commonest mode such inquiry is conducted through is reading and writing. The challenges and problems of writing for visual thinkers has been well articulated by Grow (1994). That such students are resistant to forms that they are generally not well equipped for or confident in is hardly surprising. Couple this with a seemingly near universal questioning of the relevance of theory by aspiring practitioners and it would seem the odds are stacked against such an enterprise. In this paper we will reflect upon efforts to build this bridge through design theory curriculum using visual mapping tools drawn from constructivist education theory. The efficacy of these efforts is explored through both quantitative and qualitative student feedback.

This chapter outlines the methodological approach used in this thesis to collect and analyse PGUF memes and to examine the selfie phenomenon more generally. The sample considered in this research consists of 99 photographic images, as well as media reports (including radio and online print media) collected between March 2013 and April 2014. To complement these data sets, I have also included the experiences and observations of selfie producers from workshops on selfies, blogs and online comments. The data was collected employing what Markham (2009) describes as an interpretative methodology involving reflective situating. Reflective situating is present throughout this thesis, demonstrated through my openness to recognising the main drives and interests of the study. The methodology also included a research journal in which I recorded observations and thoughts and to which I returned to throughout the research period. The first section of this chapter sets out the research questions guiding this study and explains how they sit within the broader conceptual design of the thesis. The second section addresses the data in more detail and considers limitations to the study. The chapter ends with a summary of the proposed analytic approach.

The pontificate of John Paul II coincided with the rising times of the of visual culture and media primacy. The unique personality of this Polish Pope was depicted during the canonization by numerous media reports, many of which presented photos from different periods of his life providing the evidence of the unusual features of the newly appointed saint. This study categorizes JPII media images shown in media photographs, on three areas: as the Man in his private sphere, the Pope in public sphere and the Mystic in spiritual sphere. For each of these provided are the examples of personality traits that created the media image of young, active Karol Wojtyla, later the pope a skilled politician and leader, and finally illustrated the greatness of suffering thinker and illuminated mystic.

The Icograda Board edits a shared outline that identifies the communication design community's major educational concerns and desired advancements. The draft sets the general guidelines for the development process of defining, first the official draft and ultimately the final 2011 Manifesto. The document starts from the understanding that the world was once Atlantic centred and 4 5 ICOGRADA DESIGN EDUCATION MANIFESTO 2011 8 9 ICOGRADA DESIGN EDUCATION MANIFESTO 2011 2. possesses the intellectual sensibility and skill, nurtured through professional experience and educational training, to create designs or images for reproduction by any means of visual communication. 3. contributes to shaping life and the visual landscape of commerce and culture towards a peaceful balance. 4. creates meaning for a community of diverse clients and users, not only interpreting their interests but offering conservative and innovative solutions as culturally, ethically and professionally appropriate. 5. identifies and frames problems, and solves them collaboratively exploring possibilities through critical thinking, creativity, experimentation and evaluation. 6. conceptualises, articulates, and transmits identity, messages, ideas and values into new, updated or mashup products, systems, services and experiences. 7. uses an inclusive approach that emphasises difference; respects human, environmental, and cultural diversity; and, strives to achieve common ground. 8. applies ethics to avoid harm and takes into account the consequences of design action on humanity (individuals and communities) and the environment. 9. advocates bottom-up (through DIY 02 and DIWO 03 facilitation and technology appropriation) or top-down (through policy) for the betterment of humanity and the environment. 10. adapts to technological change with ease and embraces the challenge of learning and mastering new ways to visualise and communicate concepts across different media and new smart-materials. 11. is a 'designer' with a disciplinary focus and brings that expertise to interdisciplinary collaborations with anthropologists, software programmers, scientists, engineers, architects and other experts. The future of design education Design education is evolving from one to many instruction into many to many. As a result, it should: 1. instill a compassionate and critical mentality and nurture a self-reflective attitude and ability to adapt and evolve through innovative learning tools and methods for communication and collaboration. 2. include the following dimensions: image, text, context, space, movement, time, sound and interaction. MANIFESTO 2011 Icograda Design Education Manifesto 2011 Communication design 01 Communication design is an intellectual, creative, strategic, managerial, and technical activity. It essentially involves the production of visual solutions to communication problems. Communication design has become more and more a profession that integrates the idioms and approaches of other disciplines into a multidimensional and hybrid visual competence. Today the boundaries between design disciplines are more fluid, thanks to the sharing of advanced digital tools and knowledge. As the multiplayer working process assumes a higher complexity, communication designers need to redefine their role and purpose for an expanded media context dominated by a many to many conversation mode. Change: opportunities and challenges New opportunities and challenges confront the designer. Social, cultural, technological, environmental, and economical changes over the last decade have profoundly affected communication design education and practice. As a result, the variety and complexity of design issues have increased. Emerging technologies (e.g. augmented reality, the smartphone, and social media) have broadened the way that designers communicate to include intersensory expressions-visual, aural, somatosensory, gustatory and/or olfactory components. Multi-platform content delivery is now the norm. Direct, open, and instantaneous dialogue with individual end users (coupled with economic recession in many countries) has created opportunities for authorship and invention. Copyright, patent, and creative commons are now all a part of the communication designer's intellectual property lexicon. Designers can virtually serve and interact with the world. Rapid advancements in communication and information technologies have globalised the professional context of design and bridged cultural divides with social networks in spite of perennial language barriers. There is a dire need for a more advanced ecological balance between human beings and their natural environments. This environmental challenge has brought about the need for more sustainable design materials, methods, and outcomes. The designer as professional and global citizen A communication designer: 1. practises identity design; editorial and book design; typography; information design; advertising; illustration; photography; calligraphy; signage and pictogram systems; packaging; animation design; broadcast graphics and film titles; product, web and game interface design; interaction, environmental and exhibition graphics; data visualisation; and any other activity of online and offline shaping of visual form. ICOGRADA DESIGN EDUCATION MANIFESTO 2011 10 11 3. relay models for cross-cultural and transdisciplinary communication and for global-market collaboration with industry, users, other design disciplines and stakeholders. 4. integrate theory, history, criticism, research, and management to increase the production of design knowledge in order to enhance innovation and efficacy in respect of environmental and human factors. 5. teach quantitative and qualitative research methods (e.g. ethnography) to frame and solve problems. 6. inspire professional practice with findings that contribute new knowledge to interdisciplinary discourse. 7. prepare students for technological, environmental, cultural, social and economical change. To this end, it should evolve from teacher-generated projects to more participatory problem definition, enabling students to democratically address their own concerns and ways of learning with student-initiated projects. 8. foster in students of all levels, including pre-college, intellectual curiosity and a commitment to lifelong learning. Through outreach programs, design education should diversify the profession and create opportunities for underrepresented voices to be heard. It should also provide new continued learning programs for professionals that are ever more in need of skill updating and research methods training. 9. imbue in students a sense of personal responsibility for the environmental and social impact of their practice. In the following pages the Icograda Design Education Manifesto 2011 is presented in the six official UN languages of Arabic, Chinese, English, French, Russian and Spanish. Each language version has been translated and designed by a different teacher-student team in alignment with the educational nature of the Manifesto.

Until recently, visual communication was the province of highly trained specialists who saw little need for methodically and analytically explicit approaches to design, relying instead on creative sensibilities formed during their education and professional experience. The historical link between design and art education has reinforced notions of design as an artistic activity. This perpetuates the myth of creativity by placing undue emphasis on the formal characteristics of design, intuition, and self-expression, resulting in a preoccupation with design intent and outcome, what is called the mimicry of attitude and action.

With the availability of cheap personal computers and graphic software, the production of “professional”-standard visual communication by do-it-yourself enthusiasts is ubiquitous. Design intent and outcome is no longer the sole domain of the visual communication expert. In the past decade attempts have been made to address this problem through a renewed interest in design research. In visual communication this has resulted in the wholesale adoption of critical theory and semiotic analysis. Such tools alone, though useful in dealing with issues of meaning or critiquing ideologies, are poorly suited to the empirical dimensions of design practice. The preoccupation with intent, meaning, and outcome has been at the expense of exploring the world of design use—the realm of everyday experience. This highlights the problem of importing modes of inquiry from other disciplines without addressing the differences between design practice and the disciplines from which it borrows. For visual communication, as for design, the problem lies in the diKerence between the apparently analytical frameworks from which it borrows and the synthetic framework in which it operates. It is the difference between observing, documenting, and understanding aspects of the world (typical of social inquiry) and transforming this knowledge into a meaningful visual communication experience, beyond a presentation of well-crafted visual data with social commentary.

The Indian Media Industry has reached Rs. 1.5 trillion in 2017 with a growth of 13% over previous years (FICCI, 2018). It was indeed expected to reach Rs. 1.66 trillion by 2017 from its Rs. 82,000 Crores in 2012 with a Compounded Annual Growth Rate (CAGR) of 15.2 %, foresees media experts in their analysis (KPMG, 2013). It is expected to reach Rs. 2 trillion by 2020 at CAGR of 11.6%, with a wide scope for digital advertising till 2020. The growth in TV industry is 11.2% and film grew with 27% in 2017 (FICCI, 2018). This clearly indicates the significant progress in the TV & film industry, which has job opportunities for young aspirants having employable skills. The media industry irrespective of the medium has matured technologically by digitizing, yet identifying the skilled professional from the academic institution for visual media is laborious and unfavorable. The recruiters mostly rely on the references from those in the industry than institutions offering media programmes on one hand; as a flip of the coin, it has been demanding to the institutions to get campus placement. The emptiness appears to exist between the visual media industry and the majority of the UGC recognised institutions. The age-old syllabus and theoretical pedagogy have been one of the primary hindrances to up skill in teaching concepts, theories, and imbibing practicality particularly in visual media subjects. The academic privations in facets like resources, infrastructures, laboratories, broadcasting audio and video equipments, systems, software's and applications and most importantly the facilitator who transforms a learner to a media professional with employable skills to suit industry, has barricaded the entry of a student to the industry. It is been observed, the students opt for desk jobs in news channels and print publication or get in the Public Relation & Communication stream rather than trying for avenues in creative, technical and management areas. Few academicians at institutions agree to the existing lacking and opine that the authorities at the education board and the Ministry of Higher Education at both the State level and Central level have critically failed to recognise media studies as a professional course to the extent it deserves, causing limitation in evolving an institution offering professional programmes in media studies. The study focuses on assessing the employable skills imparted to learners and the professional skills the learner should possess during the course and suggest effective recommendations with regard to television industry profiles.

With recent developments in information technology (IT) and multimedia technology in the background, there is worldwide expansion in the deployment of video-based information networks that use two core technologies, namely, video terminals, represented by videophones and videoconferencing systems, and digital network ISDN as the communication platform. In this article, visual communication networks that utilize ISDN and video terminals will be collectively referred to as video-based information networks and an explanation will be made of representative business cases that use this technology within the education, medical and welfare fields. Specifically, new types of multimedia services based on interactive visual communication will spread through video-based information networks within not just the education, medical and welfare fields but also various other business fields as well.

This article seeks to explore the social and negotiated nature of design practice through an analysis of conversations held between clients and designers working on visual communication projects. Of specific interest will be the way in which these conversational participants try to control the outcomes of these conversations through the strategies of rhetorical substitution and subject positioning. I will argue that by regulating access to conversational codes these participants seek to regulate the boundaries of inclusion and exclusion in the decision making process in an attempt to legitimate their authority. Thus the design process can be seen as producing a material outcome as well as a set of social relations both of which are inherently ideological.

2. possesses the intellectual sensibility and skill, nurtured through professional experience and educational training, to create designs or images for reproduction by any means of visual communication. 3. contributes to shaping life and the visual landscape of commerce and culture towards a peaceful balance. 4. creates meaning for a community of diverse clients and users, not only interpreting their interests but offering conservative and innovative solutions as culturally, ethically and professionally appropriate. 5. identifies and frames problems, and solves them collaboratively exploring possibilities through critical thinking, creativity, experimentation and evaluation. 6. conceptualises, articulates, and transmits identity, messages, ideas and values into new, updated or mashup products, systems, services and experiences. 7. uses an inclusive approach that emphasises difference; respects human, environmental, and cultural diversity; and, strives to achieve common ground. 8. applies ethics to avoid harm and takes into account the consequences of design action on humanity (individuals and communities) and the environment. 9. advocates bottom-up (through DIY 02 and DIWO 03 facilitation and technology appropriation) or top-down (through policy) for the betterment of humanity and the environment. 10. adapts to technological change with ease and embraces the challenge of learning and mastering new ways to visualise and communicate concepts across different media and new smart-materials. 11. is a 'designer' with a disciplinary focus and brings that expertise to interdisciplinary collaborations with anthropologists, software programmers, scientists, engineers, architects and other experts. Design education is evolving from one to many instruction into many to many. As a result, it should: 1. instill a compassionate and critical mentality and nurture a self-reflective attitude and ability to adapt and evolve through innovative learning tools and methods for communication and collaboration. 2. include the following dimensions: image, text, context, space, movement, time, sound and interaction. Communication design 01 Communication design is an intellectual, creative, strategic, managerial, and technical activity. It essentially involves the production of visual solutions to communication problems. Communication design has become more and more a profession that integrates the idioms and approaches of other disciplines into a multidimensional and hybrid visual competence. Today the boundaries between design disciplines are more fluid, thanks to the sharing of advanced digital tools and knowledge. As the multiplayer working process assumes a higher complexity, communication designers need to redefine their role and purpose for an expanded media context dominated by a many to many conversation mode. New opportunities and challenges confront the designer. Social, cultural, technological, environmental, and economical changes over the last decade have profoundly affected communication design education and practice. As a result, the variety and complexity of design issues have increased. Emerging technologies (e.g. augmented reality, the smartphone, and social media) have broadened the way that designers communicate to include intersensory expressions-visual, aural, somatosensory, gustatory and/or olfactory components. Multi-platform content delivery is now the norm. Direct, open, and instantaneous dialogue with individual end users (coupled with economic recession in many countries) has created opportunities for authorship and invention. Copyright, patent, and creative commons are now all a part of the communication designer's intellectual property lexicon. Designers can virtually serve and interact with the world. Rapid advancements in communication and information technologies have globalised the professional context of design and bridged cultural divides with social networks in spite of perennial language barriers. There is a dire need for a more advanced ecological balance between human beings and their natural environments. This environmental challenge has brought about the need for more sustainable design materials, methods, and outcomes. 1. practises identity design; editorial and book design; typography; information design; advertising; illustration; photography; calligraphy; signage and pictogram systems; packaging; animation design; broadcast graphics and film titles; product, web and game interface design; interaction, environmental and exhibition graphics; data visualisation; and any other activity of online and offline shaping of visual form. ICOGRADA DESIGN EDUCATION MANIFESTO 2011 10 11 3. relay models for cross-cultural and transdisciplinary communication and for global-market collaboration with industry, users, other design disciplines and stakeholders. 4. integrate theory, history, criticism, research, and management to increase the production of design knowledge in order to enhance innovation and efficacy in respect of environmental and human factors. 5. teach quantitative and qualitative research methods (e.g. ethnography) to frame and solve problems. 6. inspire professional practice with findings that contribute new knowledge to interdisciplinary discourse. 7. prepare students for technological, environmental, cultural, social and economical change. To this end, it should evolve from teacher-generated projects to more participatory problem definition, enabling students to democratically address their own concerns and ways of learning with student-initiated projects. 8. foster in students of all levels, including pre-college, intellectual curiosity and a commitment to life-long learning. Through outreach programs, design education should diversify the profession and create opportunities for underrepresented voices to be heard. It should also provide new continued learning programs for professionals that are ever more in need of skill updating and research methods training. 9. imbue in students a sense of personal responsibility for the environmental and social impact of their practice. Then, the role of a design educator shifts from that of knowledge provider to that of a mediator who inspires and facilitates orientation for a more substantial practice. The power to think the future near and far should be an integral part of design education and practice through research. A new conception of design aims to rebalance nature, humanity, and technology, and to harmonise east and west, north and south, as well as past, present and future into a dynamic equilibrium. In legacy with the first edition of the Manifesto presented in Seoul in 2000, we continue in respect of the essence of Oullim-the great harmony. In the following pages the Icograda Design Education Manifesto 2011 is presented in the six official UN languages of Arabic, Chinese, English, French, Russian and Spanish. Each language version has been translated and designed by a different teacher-student team in alignment with the educational nature of the Manifesto.