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The research on short stories for children has focused in Greece mostly on their literary, pedagogical, linguistic and educational aspects. This paper attempts to approach Short Form Stories for ch...

In this ever more digital and visual world, it has become more vital that students are encouraged to create content during the learning process through effective visualization of their knowledge. Infographics are an effective method for such visualization. The current study therefore proposes an infographic design rubric (IDR) as a criteria-based framework to be used in the learning process for the creation and evaluation of infographics. The IDR was developed based on the infographic design model (IDM), a process of how to design infographics for teachers and learners using the three main components of content generation, visual design generation and digital design. The development process was conducted in the five design cycles of criteria determination, validity and reliability studies involving colleagues, university students, pre-service teachers and teachers. IDR criteria were generated based on content generation and visual design generation dimensions of IDM. The content generation dimensi...

Based on the existing research from Cognitive Psychology, Information Design, Instructional Design, and Multimedia Design, it is possible to develop recommendations for the design of learning experiences that facilitate, support and enrich student academic performance. This article concentrates on the role of the teacher as information designer in print, and in digital environments within a twenty-first century education framework. We also propose specific guidelines that are based on information, and multimedia research design, with the view of assisting the teacher-designer combine content, modalities and media, and design information and instruction sets that are effective and appropriate for the intended receivers, thus optimizing their potential for learning.

The ubiquitousness of images in the digital era highlights the importance of individuals’ visual communication skills in the 21st Century. We conducted a literature review of visual literacy initiatives in academic institutions to illustrate best practices for imparting these skills in students. The literature review identified five categories of visual literacy educational strategies in academic institutions including: the availability of instructional scaffolds, faculty’s creation of activities and assignments aimed at increasing students’ abilities to interpret and create visual images, lectures and readings that promoted visual design principles, the development of programs and courses centered on visual communication, and research initiatives that sought to identify and improve individuals’ skills in communicating visually. The latter two strategies remained especially popular in institutions outside of the United States. All of the efforts served to focus attention to the importance of visua...

Literacy educators might advocate using graphic novels to develop students’ visual literacy skills, but teachers who lack a vocabulary for engaging in close analysis of visual texts may be reluctant to teach them. Recognizing this, teacher educators should equip preservice teachers with a vocabulary for analyzing visual texts.This article foregrounds three analytic concepts preservice teachers can use to examine the role issues of design play in eliciting their response to images—specifically, those in graphic novels. To demonstrate how the concepts function, the author applies them to his own reading of panels excerpted from a critically acclaimed graphic novel for adolescents.

Message design is an interdisciplinary area of knowledge. Good design is simple, bold, and direct. It provides rational, functional aesthetics, as well as effective and efficient layouts for all media. A group of design disciplines all deal with the design of messages. The main components in message design are words, visuals and forms. These main components may be used in many different ways to design, produce, transmit and interpret messages.

The purpose of this study is to compare an instructional designer’s intentions with the learners’ perceptions of the instructional functions of visuals in one specific e-learning lesson. An instruc...

This article examines the role that visual design played in efforts to elect Barack Obama president of the United States in 2008. Visual design has been an important factor in many past U.S. presid...

Towards a Definition of the Rhetorical Genre in Graphic Design, Design Authorship, and Its Implications to Design Education Rhetoric and Graphic Design The relationship between graphic design and rhetoric has been an elusive one. The two disciplines have evolved in very distinct periods in time--one has an established track dating back to the ancient Greeks, the other is a child of the industrial revolution and the ensuing fragmentation between production and planning processes. However, when comparing statements of purposes, they may sometimes sound quite alike. Corbett & Connors (1999) define rhetoric as the art or the discipline that deals with the use of discourse ... to inform, persuade or motivate an audience (p. 1). According to Resnick (2003), A more contemporary definition of graphic design might include the 'art' of communication--to inform, educate, influence, persuade, and provide a visual experience (p. 15). In introduction of his classic rhetorical treaty Campbell (1888) states, All the ends of speaking are reducible to four; every speech being intended to enlighten the understanding, to please the imagination, to move the passions, or to influence the will (p.1) When trying to explain graphic design's motives, Rand (1993) cautions his readers design broadens perception, magnifies experience, and enhances vision. It is also an instrument of disorder and confusion. Design for deception is often more persuasive than design for good; seduction is one of its many masks (p. 3). From its beginnings in Antiquity, classical rhetoric was expanded from a discipline pertaining solely to the art of speaking to include the art of writing once printing became widespread during the Renaissance. Similarly, in the age of mass media, the art of combining words and images into arguments represents one further step in the evolution of human communications. In the past century, several design theorists have pursued the relationship between rhetoric and visual communication. We see some early attempts of a synthesis between rhetoric and semiotics as a path to a graphic design theory at the HfG Ulm during the 60s, particularly with the writings of Bonsiepe (1999). Later in the 80s, we find Ehses (1989) undertaking in systematizing some of these ideas into a teaching methodology. More recently, numerous calls for the reinsertion of rhetoric as a bridge between graphic design theory and practice have been proposed by Boekraad (2000), Kinross (2002), Poggenpohl (1998), Triggs (1995), and Wild (1993), among others. Early accounts of the use of rhetorical principles in graphic design have concentrated mainly in the use of figures of speech in advertising (Bonsiepe, 1999) and poster design (Ehses1989). This focus falls within the realm of elocution, or the articulation of the style of the message. Although elocution is only one step of the rhetorical process, the overlapping between verbal and visual tropes such as metaphors, metonymies, puns, etc. presented a common ground for the exploration of the shared possibilities between the two areas. Because of its openly persuasive purpose, the entry point for studies in visual rhetoric has been advertising. However, as Kinross (1985) suggests, the distinction between design for information and design for persuasion is not as clearcut as it is often assumed, and the rhetorical component may also pervade so called objective information such as a train timetable. Wood (1992) makes a similar case by revealing how ideological interests are filtered into the apparent factuality of geographical maps. One common point in the writings advocating the role of rhetoric in graphic design is the acknowledgment of the impossibility of neutral discourse, of discourse devoid of values. There is no such a thing as pure information; every communication, verbal or visual, is always tainted by an agenda. …

The theme for this 33rd Annual Conference of the International Visual Literacy Association in Eskilstuna, Sweden, is “Visual Literacy in Message Design”. Both visual literacy and message design are broad concepts, each with a long history. Researchers with different kinds of backgrounds have shown an interest in visual literacy. This is also true for message design, which can be divided in several categories. Various areas of design have different objectives and the information materials reach out to different groups of receivers. Visual literacy and the use of images is important in message design. At the same time message design is important in the study of visual literacy. The concepts of visual literacy and message design partly overlap one another.

This paper describes the developmental process used to produce the interactive media tutorial, Presentation Authoring. An overarching goal that guided the design and development of this interactive media presentation was that it would self-exemplify the visual design principles that it espoused. This paper details the hardware and software used to develop the tutorial and the workflow used to realize the design in practice.

By not discussing aesthetics when asking students to analyze advertisements or other images, composition instructors may inadvertently lead students to assume that visual elements and design principles are irrelevant, ornamental, or at best subordinate to rhetorical considerations. However, if we use the language and theory of both rhetoric and aesthetics in the composition classroom, then students may gain a deeper understanding of the similarities and differences between the visual and verbal. This, in turn, may allow students to offer more sophisticated analyses as they consider the persuasive force of visual communication.

Knowledge of graphic design, information design, visual communication, visual language, and visual literacy might be important for our ability to better produce effective messages - “messages that really work.” In this study eight groups of ID students ranked lists of “information design characteristics,” a total of 50 research findings. These masters students were asked to discuss and rank how they perceive the importance of research findings related to: (1) sender processes, (2) text design, (3) image design, (4) graphic-design, and (5) receiver processes.

In a college course about designing and producing presentation media, it was found that the students were quite motivated to study posters, particularly those that promoted rock concerts, and apply visual-design principles (such as balance, emphasis, contrast, and movement) when creating their own poster designs. Students not only learned to consider effective color combinations, type styles, and attention-getting visuals, but also how to appeal to target audiences successfully. It was stressed, in the course, that both poster designers and designers of presentation media have much in common, in that they both must get across their messages quickly and effectively.

This article discusses four sources of socio-cultural reference in visual communication studies - art history, film studies, the psychology of art and visual representation, and the anthropology of visual communication - and suggeststhat socio-culturally nested analyses of visual textsstill offer the greatestpromisefor illuminating the nature of pictorial communication and the particular role of visualform in media production, reception, interpretation and use. The article specifically calls for a re-invigorated use of socialsemiotics: analyses of cultural texts within the concrete social contexts of visual media production and reception, and with a heightened awareness of the impactof shifting technology,industrial synergy, and trans-cultural media activity.

This study investigates the creative logic of Chinese typography as the central visual element in television commercials from China. Hong Kong, and Taiwan nowadays. It explores differences in the creative strategies employed in using Chinese written characters to produce meanings according to the traditional definition of the families of charatters and the basic commponent elements in Chinese written characters. Here, it examines three main concepts of creative logic which include piclograph adaptation, deconstruction. and reconfiguration of multi etemeni characters. By comparing the different design techniques in those outstanding examples from the three geographic areas, it illustrates the potential flexibility of visual design that is inherent within the basic rules of Chinese character usage. Also, it formulates and enhames the understanding of Ihe visual language in Chinese typography in the rmxlern context.

Suggested indexing/retrieval terms:Visual Dialect, Ethnovisual, Sociovisual,Graphic Design, Visual Editing,Social Communication, Public Service Educational Materials,Creativity