Visual Design

Abstract — Indonesia has become the witness of WPAP (Wedha's Pop Art Potrait)design style’s birth and popularity. Visual phenomenon of this style is easily visible both in real world and online. The numbers of the WPAP fans are increasing more and more by now. The research found that the popularity of WPAP design style closely connected to the roles of the WPAP fans community. Therefore comes a question, how is the role of the community concerning to the popularity of WPAP design style? This research is conducted in qualitative method, and it uses analytic description method to explain the answers to the prior question. The result found from this research shows that WPAPfans community has 3 roles: as the producer, the distributor, and the consumer itself. The great loyalty given by WPAP fans community also helps the vast spreading of this design style in Indonesia. The result shown in this research confirms the great influence of community to the development of a visual style.

Keywords – WPAP, WPAP community, community management, design style

Scientists tend to look at visual design and aesthetics as purely artistic and subjective. Professionals from the creative industry, such as graphic designers, visual designers, and digital media producers are very aware that visuals have a profound effect when communicating with an audience. Effective visual design triggers the emotions of users. Therefore, it is necessary to understand and apply design elements and principles in the learning context, using pedagogies and instructional strategies in conjunction with principles of layout design, colour, typography, and image use to enhance the learning experience. If these visual design principles are appropriately applied, it also produces universal designs, catering for learners with disabilities (e.g. colour blindness and dyslexia). Designing effective online learning is very little related to artistic flair and creativity. Contrary to what many learning professionals think, understanding these principles is not gained by simply creating digital media. They need to be formally taught. To demonstrate how effective these principles are for creating instructional materials, the author discusses their scientific basis by explaining how visual stimuli work in the human brain.

This article originally appeared in Training & Development magazine, December 2019 Vol. 46 No. 4, published by the Australian Institute of Training & Development

Visual design in general is the arrangement of information items (eg, text, images, diagrams, pictures, tables) in such a way that the resulting product is visually attractive, perceptive, and easily understandable. Visual design issues are raised in many domains of human activity such as user interface design, documentation development, presentation design, and graphic layout. This chapter describes techniques coming from traditional visual design and discusses them in the context of user interface design. When the designer sketches the ...

Recent advances in computer graphics, particularly in real-time rendering, have resulted in major improvements in 3D graphics and rendering techniques in interactive entertainment. In this article we focus on the scene-lighting process, which we define as configuring the number of lights in a scene, their properties (e.g., range and attenuation), positions, angles, and colors. Lighting design is well known among designers, directors, and visual artists for its vital role in influencing viewers' perception by evoking moods, directing their gaze to important areas (i.e., providing visual focus), and conveying visual tension. It is, however, difficult to set positions, angles, or colors for lights within interactive scenes to accommodate these goals because an interactive scene's spatial and dramatic configuration, including mood, dramatic intensity, and the relative importance of different characters, change unpredictably in real-time. There are several techniques developed by...

We suggest that diversity and changes in the visual design of web pages exhibit trend-like characteristics. We begin with a survey of the fashion and trends literature to clarify these terms and to relate them to the domain of web design. Based on freely available online archival data we assembled a website design trend library that includes 42 trends encompassing the period from the mid-1990s to the year 2010. The trends were classified into three general groups, from oldest to most recent: Faded, Past-Peak, and Current. A second study tested hypotheses that stemmed from the premise that web design trends exist. Data from 262 designers and non-designers indicate that designers are more accurate than non-designers in evaluating the up-to-dateness of web design trends, and that people tend to like trends that they perceive as up-to-date. We discuss research and practical implications of these findings for the design process of websites and for interactive systems in general, for the role of designers in this process, and for the education of IS students. is the co-founder and Chief Fashion Officer at the startup company Bazaart (www.bazaart.me), working on a personal fashion catalog for tablets. Formerly Gili was a fashion editor and journalist at an online magazine, a UX professional, and a software developer and team leader. This research was part of her Masters' thesis on fashion and trends in Web Design, conducted within the Human Factors Engineering department, Industrial Engineering Faculty of Ben-Gurion University of the Negev. Gili lives in Tel-Aviv, Israel and loves fashion, styling and how they mix with UX.

Addressing data visualization challenges typically involves applying lessons from visualization theory to inform design and implementation approaches. This process is shaped to a large extent by the availability of tools that are aimed at enabling visualization designers to focus on visualization design rather than on low-level software engineering. Recently, such tools have become powerful enough to be used effectively. We discuss the ideation process informing our design approach and describe the use of Macromedia Flash MX 2004 for the rapid prototyping of a gaze data visualization tool. We highlight selected gaze data visualization ideas to illustrate the most innovative aspects of our design. In particular, we explain our strategy to reveal the underlying mechanisms that produce the summarizing visual constructs and why this is important. We introduce a new technique for visualizing gaze data for dynamic stimuli. The novelty of this approach is that it avoids the traditional frame-by-frame analyses typically carried out for such stimuli.

We revisit the design space of visualizations aiming at identifying and relating its components. In this sense, we establish a model to examine the process through which visualizations become expressive for users. This model has lead us to a taxonomy oriented to the human visual perception. The essence of this taxonomy provides natural criteria in order to delineate a novel

Although often presented as a single basis for educational visual screen design, Gestalt theory is not a single small set of visual principles uniformly applied by all designers. In fact, it appears that instructional visual design literature often deals with only a small set of Gestalt laws. In this project Gestalt literature was consulted to distil the most relevant Gestalt laws for educational visual screen design. Eleven laws were identified. They deal with balance/symmetry, continuation, closure, figure-ground, focal point, isomorphic correspondence, prägnanz, proximity, similarity, simplicity, and unity/harmony.

After 1980s contemporary media is shaped from different basis in Turkey. In this span, of time designing newspaper pages with computer software for graphic design presented new and different alternatives and challenges. Post 1980sÕ in Turkey, visual design or visual trends in newspapers are shaped by practical politics of dominance, economics, tabloidization and technological developments without specific base, notion or

The paper explores changes in technology that have implications for the teaching and learning of school mathematics. To this end, it examines aspects of interactive mathematical textbooks; specifically it analyzes functions authors may intend to be carried out by embedded interactive diagrams. The paper analyzes theoretical as well as practical lessons that I learned while designing such a book. It is the purpose of this article to provide a rough, preliminary collection of categories of diagram function that would allow an orderly discussion of the subject. While this is not an empirical study, the hypotheses about student practices with interactive diagrams are based on a long series of studies related to the learning of algebra in a technologically-rich environment.

Researchers have previously examined the technology acceptance model (TAM) in many contexts, including the Internet. More recently TAM has been enhanced to include a hedonic component of enjoyment but the effect has rarely been investigated in a mobile commerce context. In addition, specific antecedents of TAM related to design aesthetics have not been examined within the mobile domain. Our research filled these gaps, and discovered that visual design aesthetics did significantly impact perceived usefulness, ease of use, and enjoyment, all of which ultimately influenced users' loyalty intentions towards a mobile service. #

Game, is an aspect to help all living creatures to be able to prepare for life in a fun and volunteer way. Gamification, which emerges with the idea of increasing motivation by using game elements, is used in many fields such as work, education, health, personal development and marketing. In people's real lives, they can loss weight, learn language, sales increase and so on motivation in line with many goals and take action and change behavior. Gamification; especially, in the growing mobile application market with the increase in the use of smart phones is the new choice of companies. Gamification is a technique which used to increase the loyalty, motivation and productivity of users in mobile applications. In this way, a more interesting and enjoyable experience for the user can be provided. Gamification, which attracted the attention of researchers and academics, has been the subject of many researches and studies. The purpose of this is the benefits of gamification over the engagement between users and the interface design and the experience. In line with this aim, elements related to the concept of gamification, models and related motivational theories are explained in detail and the elements that should be considered for a qualified and usable user interface (UI) design are examined. The usage rate and appreciation rate of educational mobile applications using gamification were selected and the effect of gamification on the usability of interface design was evaluated. As a result of this study, the interface design of a new application called "Quistudy", which uses the elements of gamification in order to improve usability and development, has been designed. The usability tests of the application were performed and the success rate of the interface design was measured. In this manner, the effect of gamification usage on interface design in educational mobile applications and the contribution of interface design to effective use of gamification elements were evaluated.

Drawing on recent studies of visual design and current feminist theory, and based on a research project in which males and females were asked to create visual representations of factual information, a feminist theory of design is posited. Three primary positions relevant for technical communicators are argued: 1) social contructionism is a feminist perspective; 2) technical communicators need to eliminate the hierarchy of visuals and text and represent information by balancing both; and 3) technical communicators need to emphasize the rhetorical, contextual situations in which visuals and texts co-mingle. "We don't see things as they are, we see them as we are."-h a i s Nin

Visualization and interactivity are valuable active learning techniques that can improve mastery of difficult concepts. In this paper we describe jFAST, an easy-to-use graphical software tool for teachers and students, with an emphasis on introductory level finite state machine topics. The jFAST software enables visual design, exploration and simulation of a variety of finite state machines, with a primary goal of enhancing teaching effectiveness in this subject, particularly for less advanced computer science students. The architecture and functionality of jFAST are explained, and results of preliminary evaluation are provided.

إن قضية فقدان التواصل الحسي والإدراكي بين الطالب وأهمية الربط بين المناهج التعليمية التي تؤثر تأثيراً مباشراً في طريقة تعبيره عن مشروعه وإدراك مكوناته وأبجديات المشروع ومادة التصميم المعماري ، تُعد من أهم وأخطر القضايا المطروحة في السنوات الأخيرة بالنسبة لمستوى منتج مادة التصميم المعماري ، وهي تعني إنفصال الطالب عن تطبيق المعارف والمهارات التي توضح إدراك العلاقة بين هذه المناهج والذي ظهر تأثيره واضحاً في ضعف وتدهور مستوى منتج نسبة كبيرة من مشاريع طلبة قسم العمارة في المراحل الأولى للتعلم سواء من ناحية التشكيل والتكوين المعماري الذي يُعبر عن فكرة المشروع أو طريقة إظهار المشروع التي تُفيد في إيصال الفكرة المستهدفة منه. ومن ثمَّ يُناقش البحث دور مقرر التشكيل المرئي ومبادئ التصميم المعماري ،ومقرر الرسم ووسائل التعبير المعماري كمدخلات أولية في المراحل الأولى لتعليم التصميم المعماري ، مُستعيناً بالمنهج الاستقرائي الاستكشافي للبحث في أهمية هذه المقررات للتصميم المعماري ، وبالتجربة العملية للربط بين المقررات محل الدراسة ، وحصرت التجربة مجالها المكاني في أطراف منظومة التعليم بالمعهد العالي للهندسة والتكنولوجيا – بالتجمع الخامس وبالتطبيق على الفرقة الأولى عمارة – كحالة دراسة - باعتبارها بداية المرحلة الأولى لتعليم التصميم المعماري ، مع قياس مدى تأثير هذه المقررات بشكل عملي على المنتج النهائي لمادة التصميم المعماري باستطلاع رأي عينة من آراء طلاب الفرق المختلفة لقسم العمارة ، لاستكمال جوانب البحث ، وصولاً إلى المدخل المتكامل نحو تفعيل الربط بين المقررات محل الدراسة بهدف الارتقاء بمستوى المنتج النهائي لمشروعات الطلاب في مادة التصميم المعماري في المراحل الأولى للتعليم.

Sinemadan sonra izleyicileri en fazla tercih ettiği diziler, televizyon dışında tüm dünyada farklı ortamlarda izlenen bir tür halini almıştır. İzleyicinin beğenisini kazanmak için aynı sinema gibi estetik kaygılarla üretilmesi gereken diziler, hikâyesi ve oyunculuklarının yanı sıra, her bir bölümünde görsel olarak seyirciyi belli bir hazza ulaştırmalıdır.
Sinemanın görsel tasarım unsurları olan sinematografi, mekân seçimi, kurgu, ışık, renk, kostüm, saç tasarımı, makyaj gibi görsel ürünü oluşturan bu kodlar birbirleriyle uyum içinde olmak zorundadır. Ortaya konulacak işin geçmiş veya gelecek bir dönemde geçiyor olması bu görsel ürünlerin, sinematografi ve mekân kullanımı gibi konularda
daha titiz davranmasını kaçınılmaz hale getirmektedir. Bu nedenle çalışma, tüm dünyada takip edilen bir dönem dizisi olan “Narcos” un bu kodlardan olan “mekân” ile “sinematografik anlatım” arasındaki uyumu sorunsallaştırmaktadır. Çalışmanın amacı sinematografi ve mekân kullanımının, bir görsel ürünün başarısında ne denli önemli
olduğunun ortaya çıkarılmasıdır. Mekân seçimi, kullanımı ve sinematografik anlatımın tutarlı bir şekilde ve bir bütün olarak incelenebilmesi için “Narcos” dizisinin ilk iki sezonundaki yirmi bölüm çalışmanın sınırlılığı olarak belirlenmiş; sinematografi tanımı,
görsel anlatım ve mekân seçimi ve kullanımı örneklem olarak seçilen “Narcos” dizisi üzerinden incelenmiştir.

Sustainability is being gradually adapted as a framework in Design in general and in Design Education in particular. However, this is rarely the case when considering Visual Design. To strengthen Sustainability in Visual Design Education, this research suggests seven principles that need to be taught to students at a bachelor’s degree level. These principles are suggested in the context of traditional Design Education, based on the study case of the bachelor program in Visual Design at the The Royal Danish Academy of Fine Arts. They include: questioning the assumptions, applying systems thinking, cooperating with others, working for the long-term, rethinking resources, shaping the narrative and mediating complexity. In this research, interviews with stakeholders and Design experts as well as findings from the literature, were synthesized to formulate the suggested solution. After a series of reflections on the overall changes in the paradigm of Design and the way they affect Design Education in the context of Sustainability, this research provides both a conceptual model to be used strategically by faculty management to structure the content of the study program, and concrete principles to be used by teachers to address Sustainability in the context of their existing classes. However, a co-creative dialogue with the stakeholders at KADK shows that even though the solution is relevant and applicable, there is a need for broader educational change to address both the current challenges and emerging needs within Design Education.

In 1870s, the German architect Hermann Eduard Maertens grounded his Optical Scale research on Hermann Helmholtz and Franciscus Donders' works about the physiology of vision and engrafted it in the tradition of Renaissance perspective and proportion theory's applications to architecture and urban planning. This article describes the scientific core of his approach, in the context of a general revision of aesthetic enjoyment of artworks and a deterministic reorientation of human knowledge toward the industrial production; his elaboration of a triad of visual angles to determine size and organization of space according to visual targets; the diffusion of visual cones as a graphic tool to include perceptual values in the project; the immediate success of his formula among architects and urban planners but, at the same time, the critical reception of his static concept of urban perception; the means of transmission of his ideas in the XX century and their often unaware long-term influence on some postwar years researches. En 1870 el arquitecto alemán Eduard Maertens basó su investigación en Escala Óptica en los trabajos de Hermann Helmholtz y Franciscus Donders sobre fisiología de la visión, injertado en la tradición de la perspectiva renacentista y en las aplicaciones en arquitectura y planeamiento urbano de la teoría de las proporciones. Este artículo describe el fundamento científico de este enfoque, en el contexto de una revisión general del disfrute estético de las obras de arte y una reorientación determinista del conocimiento humano hacia la producción industrial; su elaboración de una tríada de ángulos visuales para determinar el tamaño y la organización del espacio según objetivos visuales; la difusión de conos visuales como una herramienta gráfica para incluir valores perceptuales en el proyecto; el éxito inmediato de su fórmula entre arquitectos y urbanistas pero, al mismo tiempo, la recepción crítica de su concepto estático de percepción urbana; los medios de transmisión de sus ideas en el siglo XX y su habitualmente inconsciente y prolongada influencia en algunas investigaciones de los años de postguerra.

Esta dissertação explora a relação entre o design visual de websites de Instituições de Ensino Superior, nomeadamente de Universidades, e a credibilidade que lhes é atribuída pelo público. Os websites deste tipo de organização constituem uma poderosa ferramenta representacional e de comunicação com o exterior, e assumem particular relevância na captação de estudantes, na medida em que constituem a primeira (e muitas vezes a única) interface com potenciais alunos.

No contexto online, e especificamente em relação a websites, identificam-se quatro categorias de credibilidade atribuída: credibilidade presumida (baseada em suposições pessoais); credibilidade reputada (baseada no prestigio e reputação das fontes); credibilidade adquirida (baseada em experiências passadas) e credibilidade superficial (baseada nas características visuais das páginas).

O estudo empírico aqui desenvolvido centra-se no domínio da credibilidade superficial e testa o pressuposto teórico de que páginas web com bom design visual são percecionadas como mais credíveis do que páginas com mau design visual. Identifica os elementos que maior influência têm sobre a credibilidade percecionada e verifica ainda se existem diferenças de avaliação em função do perfil demográfico e competências informáticas dos utilizadores.

Os resultados obtidos demonstram claramente a existência de correlação entre a qualidade do design visual de uma página web e a perceção da sua credibilidade: websites com boa aparência visual são efetivamente percecionados como mais credíveis do que websites com má aparência visual. Para a atribuição de credibilidade concorrem sobretudo a organização e estrutura visual, a imagética, as cores e os padrões.

Este estudo é o primeiro a procurar isolar a componente visual de um website, de modo a que a aferição da credibilidade se realize exclusivamente com base na aparência. É também o primeiro a estudar a relação entre o design visual e a perceção de credibilidade aplicada a websites de Instituições de Ensino Superior, e precursor na identificação das propriedades visuais que mais contribuem para a perceção da credibilidade superficial.

Palavras-chave: “Design Visual”, “Perceção”, “Credibilidade”, “Websites”, “Ensino Superior”, “Universidades”.

The rising crescendo of the digital lifestyle has profoundly affected the human capacity for sustained focus. Since 2000, the human attention span has dropped from 12 to 8 seconds, with decreased long-term focus as users increase digital consumption. With users not getting off their devices anytime soon, and technostress on the rise, the question arises how designers might better meet users where they are by designing more mindful interactions. Research in the field of mindfulness shows its potential to reduce stress, increase productivity, and improve overall wellbeing. Mindfulness-based design, or mindful design, focuses on creating opportunities for users to become more attentive to their present state of awareness. The opportunity for this design research is in response to what Linda Stone, technology consultant, calls “screen apnea,” or the experience of shallow breathing or breath holding while doing email, or while working or playing in front of a screen. According to Stone, 80% of people do not breathe properly when using screen devices and the implications are increased stress levels, diminished emotional well-being and attitude, as well as reduced productivity. Using the breath as the primary focus, the goal of this design research is to understand the relationship between the visual components of rhythmic visualizations—direction, hue, brightness, temperature, saturation, contrast, and imagery—and the factors that affect mindfulness through breath awareness for long-term desktop users. The extended goals of this research are to integrate the findings into the development of a web-based tool—potentially a browser extension—to enhance mindfulness and minimize digital stressors.

• MELCHIADES, Richard. GONTIJO, Vinícius. KRAN, Vinícius. LAGARES, Walkenes. Infografia Interativa, 2008, 44 p. Trabalho de Conclusão de Curso (Graduação em Artes Visuais com Habilitação em Design Gráfico) – Faculdade de Artes Visuais, UFG, Goiânia.


O presente projeto é um estudo da infografia, mais especificamente aplicada aos efeitos da infografia interativa na compreensão do assunto abordado em matérias variadas, sejam elas jornalísticas, didáticas ou ciêntíficas.  Para este trabalho, primeiramente, foi realizada um pesquisa bibliográfica sobre os aspectos conceituais do tema, sobre o surgimento da infografia, seus campos de aplicação, com foco na infografia interativa, porém não deixando de mencionar sua importância no campo editorial impresso.
A infografia é uma linguagem cada vez mais utilizada no mundo jornalístico, na mídia impressa e também na mídia televisiva e virtual. Trata-se de um tema bastante carente em bibliografia específica e que nos instigou a buscar informações em diferentes formas disponíveis de acesso a pesquisa.
A infografia é predominantemente visual, e deve-se apresentar de uma forma fácil de compreensão, é aí que o designer entra, para organizar estas informações e montar um infográfico eficaz e esteticamente agradável.
Além da possibilidade de inserção do bom design, este trabalho tem por objetivo apresentar um infográfico interativo que utilize técnica aplicada de Design da Informação e interação, utilizando-se também de programas de computação que permitam a criação deste infográfico, que será um anexo apresentado junto ao trabalho de conclusão de curso.

Palavras-chave: design visual, design de interação, infografia e ilustração.

Our work introduces immersive collaborative learning to geometry education. More specifically, we present a system that uses collaborative augmented reality as a medium for teaching, and uses 3D dynamic geometry to facilitate mathematics and geometry education. Both these aspects are novel to geometry education. We describe improvements in the user interface and visual design of such an application. We also report on practical experiences with using our system for actual teaching of high school students, and present initial quantitative data on the educational value of such an approach.

This Graduate Paper presents the partial model of an editorial product for two different types of media: printed and digital. The challenge is to explore the co-existence between them without losses for the editorial product. The proposal is that they potentiate each other.

(To read this thesis click "URL hdl.handle.net" at top of this entry)

An ontology describing the constructs and their inter-relationships for business models has recently been built and evaluated: the Business Model Ontology (BMO). This ontology has been used to conceptually power a popular practitioner visual design tool: the Business Model Canvas (BMC).

However, implicitly these works assume that designers of business models all have a singular normative goal: the creation of businesses that are financially profitable. These works perpetuate beliefs and businesses that do not create outcomes aligned with current natural and social science knowledge about long term individual human, societal and ecological flourishing, i.e. outcomes are not strongly sustainable. This limits the applicability and utility of these works.

This exploratory research starts to overcome these limitations: creating knowledge of what is required of businesses for strongly sustainable outcomes to emerge and helping business model designers efficiently create high quality (reliable, consistent, effective) strongly sustainable business models.

Based on criticism and review, this research project extends the BMO artefact to enable the description all the constructs and their inter-relationships related to a strongly sustainable business model. This results in the Strongly Sustainable Business Model Ontology (SSBMO). To help evaluate the SSBMO a practitioner visual design tool is also developed: the Strongly Sustainable Business Model Canvas (SSBMC).

Ontological engineering (from Artificial Intelligence), Design Science and Systems Thinking methodological approaches were combined in a novel manner to create the Systemic Design Science approach used to build and evaluate the SSBMO. Comparative analysis, interviews and case study techniques were used to evaluate the utility of the designed artefacts.

Formal 3rd party evaluation with 7 experts and 2 case study companies resulted in validation of the overall approaches used and the utility of the SSBMO. A number of opportunities for improvement, as well as areas for future work, are identified.

This thesis includes a number of supplementary graphics included in separate (electronic) files. See “List of Supplementary Materials” for details.

[Since this research was completed, the practitioner visual design tool (the Strongly Sustainable Business Model Canvas) that is conceptually "powered by" the the Strongly Sustainable Business Model Ontology, has been further refined to become the Flourishing Business Canvas - see www.FlourishingBusiness.org for the most recent practice and developments].

Visual images are increasingly appearing in learning and teaching resources, delivered across a range of media in a variety of formats: digitally in Web-based materials and multimedia as well as in print and as transparencies. The proliferation of image-rich resources is due in part to the wide availability of digital images and access to the technology and graphics software that facilitates the creation and delivery of visual materials. As theory underpinning the modelling of learning shifts current practice towards the construction of knowledge based on tutor-student and student-student interchanges, communication skills including visual communication, and therefore visual literacy, become more critical to successful educational outcomes. This paper offers a definition of visual literacy and identifies some of the core competencies of a visually literate person. Also described is how the Learning Technology Support Service at the University of Bristol, UK, is beginning to address the need for visual communication skills development in staff, students and learning technologists by developing training in the visual design of online learning and teaching materials.

Many well-cited theories for visualization design state that a visual representation should be optimized for quick and immediate interpretation by a user. Distracting elements like decorative "chartjunk" or extraneous information are avoided so as not to slow comprehension. Yet several recent studies in visualization research provide evidence that non-efficient visual elements may benefit comprehension and recall on the part of users. Similarly, findings from studies related to learning from visual displays in various subfields of psychology suggest that introducing cognitive difficulties to visualization interaction can improve a user's understanding of important information. In this paper, we synthesize empirical results from cross-disciplinary research on visual information representations, providing a counterpoint to efficiency-based design theory with guidelines that describe how visual difficulties can be introduced to benefit comprehension and recall. We identify conditions under which the application of visual difficulties is appropriate based on underlying factors in visualization interaction like active processing and engagement. We characterize effective graph design as a trade-off between efficiency and learning difficulties in order to provide Information Visualization (InfoVis) researchers and practitioners with a framework for organizing explorations of graphs for which comprehension and recall are crucial. We identify implications of this view for the design and evaluation of information visualizations.

Presentación de capítulo para el libro "La Interacción Humano-Computadora en México", editado por J. Muñoz, J. M. González y J. A. Sánchez. Pearson, México.

Detalles sobre el capítulo:
* Presenta 10 fundamentos relacionados con el diseño visual de interfaces de usuario.
* Presenta un marco de trabajo orientado al diseño para estudiantes de Diseño de Interacción Humano-Computadora.
* Incluye ejercicios para estudiantes enfocados en diseño visual que estudiantes de Computación e Ingeniería de Software pueden usar, pero también pueden ser usados en programas en departamentos académicos de diseño.

Finite state machines (FSM) are a basic component in hardware design, they represent the transformation behveen inputs and outputs for sequential designs. FSMs can be rep-resented graphically, which would help the designer to visu-alize and design in R more efficient WRY, on the other ...

This paper presents a novel methodology for dealing with decision-making problems in product design fields. The purpose of this study is to evaluate product form design in terms of the perspectives of Gestalt psychology and Minimalist principles. Unlike traditional AHP methods, the proposed decision-making model uses distinct mathematical tools to establish priorities for the criteria and synthesize the evaluation results. A case study was conducted to illustrate the practicability of this proposed model. It has shown a credible result. In addition to product form design, this model can be applied to related design fields, such as plane design and other visual design. Relevance to industry: Product form design is a creative process that involves complex visual perceptions. It is very important to develop an effective decision support system for designers to deal with problems concerning the consumers' psychological preferences toward product forms. As Gestalt psychology and Minimalist principles provide an important perspective on visual perception, it is appropriate to apply these principles in assessing the quality of product form design.

Beginning in Los Angeles, California, in the 1970s, and also known as pop surrealism, the Lowbrow art movement was born as a part of punk music, comic books, street and skateboard cultures and is seen in all fields of art. This study is the reflection of the Lowbrow art movement on visual design fields such as illustration graphic design and typography, animation and designer toys. Lowbrow artists were difficult to be adopted in the arts and design fields in the first years of the movement, because they did not have a diploma in fine arts and came from the street culture. But in recent years, Lowbrow artists have proved themselves and have begun to produce art and design works that are exhibited in different fields. The aim of this study is to emphasise the importance of Lowbrow art, which is seen as a subculture today.