Emotion Recognition is the experience of attitude in graphic language expression and composition. People use both verbal and non-verbal behaviours to communicate their emotions. Visual communication ...and graphic design are always evolving to meet the demands of an increasingly affluent and culturally conscious populace. When graphic designing works, designers should consider their own opinions about related works from the audience's or customer's standpoint so that the emotion between them can resonate. Hence, this study proposes a personalized emotion recognition framework based on convolutional neural networks (PERF-CNN) to create visual content for graphic design. Graphic designers prioritize the logic of showing objects in interactive designs and use visual hierarchy and page layout approaches to respond to users' demands via typography and imagery. This ensures that the user experience is maximized. This research identifies three tiers of emotional thinking: expressive signal, emotional experience, and emotional infiltration, all of which affect graphic design. This article explores the subject of graphic design language and its ways of emotional recognition, as well as the relationship between graphic images, shapes, and feelings. CNN initially extracted expressive features from the user's face images and the poster's visual information. The clustering process categorizes the poster or advertisement images into positive, negative, and neutral classes. Research and applications of graphic design language benefit from the proposed method's experimental results, demonstrating that it outperforms conventional classification approaches in the dataset. In comparison to other popular models, the experimental results demonstrate that the proposed PERF-CNN model improves each of the following: classification accuracy (97.4 %), interaction ratio (95.6 %), emotion recognition ratio (98.9 %), rate of influence of pattern and colour features (94.4 %), and prediction error rate (6.5 %).
Environmental design as a practical major in the university, is concentrating on training students to become professional designers to fit the requirements of the design market today. Traditional ...design education that only construction documents with CAD technology training has no longer satisfied the needs of economy and the market today, so we have to explore new strategy to change the way of teaching. This article explores some examples of new strategy of how to set up lecture, studio practices, and competition workshop for environmental design course system in high education institute in China. The goal is to transform abstractive thinking in art and design perception to representational diagram in visual technique. We hope this new exploration can reform the atmosphere during studio education, with merging new technique such as new digital media, AI and IT technology, and therefore, change the learning technique and improve students to learn more.
The opening scenes of any film are produced first in the sound plane, then in the visual one and set the horizon of expectation to the future audience3, offering it through a methaphor specific to ...the language of this art, the deep meaning of the film. We can also say that this visual discourse graphically coded in the form of credit titles, communicates to the audience’s subconscious all the necessary elements for the cinematic narrative to acquire the force of truth, to be truthful.. Thus, „a pattern” or „a key” is established that the audience will unconsciously resort to in order to understand the meanings of the cinematic discourse when the dramatic moments of the film define the destiny of the narrrated universe. We could say that these moments constitute the foundation on which the film narrative is built, the universe in which the characters will evolve, but also the sighn of their destiny.
This article discusses the relationships that have been established throughout history between drawn pictures and written words. An almost epic interweaving of war and peace emerges between the two ...languages that, depending on the times, cultures and contexts, have sometimes prevailed one over the other, have sometimes allied themselves, and then again fought and imposed themselves on each other. Despite the fact that this diatribe never seems to reach a conclusion, there are some fields in which the two languages seem to succeed in dialoguing in unpredictable and surprising ways. One of these is the picture book, a neutral field in which the longstanding struggles for supremacy between graphic and verbal languages seem to disappear, whereas they instead dialogue and experiment together in new forms of narration. Words and images here renounce their traditional meanings and configuration, defining unusual forms of wordless books, which go far beyond the classic and almost predictable format of the silent books.
PICTOGRAM LANGUAGE Nicoleta Elisabeta Pascu; Victor Adir; George Adir ...
Journal of Industrial Design and Engineering Graphics,
06/2018, Volume:
13, Issue:
1
Journal Article
Open access
This paper tries to explain the importance of graphic representations as pictograms in a global communication. The aim of this study is to represent and discuss about pictograms as different ...representations all over the world, but using common elements to be easier understood by the people. We have studied pictograms for different purposes and, the same time, we have proposed new ones to be used in a very good graphic language. The aim of this paper is to bring together pictograms from our daily life and new graphic representations of them and to include these ones in a special language without words. It is about a comparison between what is now in charge and what is suggested to be comprised. This study was a challenge for us due to the generous area of such graphic representations knowing that pictograms are above all boundaries of any writing and spoken language.
PICTOGRAM LANGUAGE Nicoleta Elisabeta Pascu; Victor Adir; George Adir ...
Journal of Industrial Design and Engineering Graphics,
06/2018, Volume:
13, Issue:
1
Journal Article
Open access
This paper tries to explain the importance of graphic representations as pictograms in a global communication. The aim of this study is to represent and discuss about pictograms as different ...representations all over the world, but using common elements to be easier understood by the people. We have studied pictograms for different purposes and, the same time, we have proposed new ones to be used in a very good graphic language. The aim of this paper is to bring together pictograms from our daily life and new graphic representations of them and to include these ones in a special language without words. It is about a comparison between what is now in charge and what is suggested to be comprised. This study was a challenge for us due to the generous area of such graphic representations knowing that pictograms are above all boundaries of any writing and spoken language.
With the continuous development of society, the role of the visual guidance system in animation design has also evolved and evolved in its long history, leading to the changes in the values of modern ...beauty. In the field of modern social and cultural design, the visual guidance system in animation design has unique regional nature and cultural influence. The visual language should correspond to the visual environment and easy to understand and be known by people. It combines animation conception and design technology to capture the cultural charm and beauty, values, and behavioral norms of people in different fields. This article studies and analyzes the visual orientation of graphic language in the design of animation visual guidance system, and injects the graphic language with orientation into its animation design, so that the animation design is more in line with the characteristics of the times. It can be more adapted to the emerging media and better convey the information transfer between the enterprise and the audience. To further understand the audience’s tendency toward elements of graphic expression, this article analyzes the subjective perceptions of the respondents on the importance of color selection, calligraphy fonts, graphic expression, and modeling meaning. The results of the study showed that the respondents aged 21–35 paid more attention to the choice of graphic colors, and the highest number was 69.
Abstract
A comprehensive framework is presented for analyzing and specifying an extensive range of visualizations, such as
statistical charts, maps, family trees, Venn diagrams, flow charts, texts ...using indenting, technical drawings and scientific
illustrations. This paper describes how the fundamental ‘DNA’ building blocks of visual encoding and composition can be combined
into ‘visualization patterns’ that specify these and other types of visualizations. We offer different ways of specifying each
visualization pattern, including through a DNA tree diagram and through a rigorously systematic natural language sentence. Using
this framework, a design tool is proposed for exploring visualization design options.
As computer technology advances, people's capacity for visual perception grows better, and the demands placed on computerized layouts progressively rise. The simple style of graphics is no longer the ...only option for computer figure video creation; instead, there is a greater tendency to visually represent the effect and improve the aesthetics and expressiveness of visuals and images. Graphic language uses visual components, including shapes, colors, typographies, images, and icons, in a visual communication context to express messages, ideas, and emotions. Graphics language encounters greater chances and obstacles against the backdrop of this information era. Consequently, it is crucial to convert data into graphics language. Visual communication is evolving in some potential directions with the advancement of technological advances and cultural convergence. The graphic language has its distinct visual meaning, and each person's visual experience is extremely diverse and exists in life with various visual elements in different layouts. A hybridized Grid and Content-based Automatic Layout (HGC-AL) algorithm for graphic language in Visual Communication Design (VCD) has been developed to produce visually balanced layouts and establish a structured system for arranging content elements. The content-based layout uses design constraints for better alignment and avoids conflict loss. The hierarchical arrangement of graphic elements in a grid layout analyzes the types of visual elements like image, text, and color. Finally, graphic language enhances the visual score and gives flexibility by allowing changes and modifications within the grid layout. Following the design requirements change, the responsive fluid grid supports various graphical content, sizes, and alignments. Thus, compared with existing layout algorithms, the proposed algorithm is validated with metrics like Intersection of Union (IoU), alignment accuracy, content coverage ratio, visual score, scalability ratio, and overall layout quality.
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