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The experimental findings of this study of 448 college students indicated tha written plus graphic communication is a more effective communications technique than either written or graphic communications alone. There was no significant difference between strictly written and strictly graphic presentations.

Keywords: Critical Discourse Analysis (CDA). Semiotics. Social Research. TextualAnalysis. Language., Palavras-chave: Análise de Discurso Crítica (ADC). Semiótica. Pesquisa Social.Análise Textual. Linguagem.

This article presents the impact COVID–19 had on a first-year communication design curricula revitalisation to progress students from a secondary level standards-based criterion to a tertiary culture predicated on active and experiential practice-led studio inquiry. Methodologically, it describes a design-based research intervention that asks what occurred in the translation of a brief written as an in-person, studio-based model into a purely online undertaking, learning from anywhere, teaching in a constant state of flux? Through a commentary on practice, the revitalisation of a design programme, and the pedagogical shift from within the traditional studio paradigm–a dynamic on-campus, in-person model into an abrupt and atypical online undertaking due to the global pandemic, this paper contributes to a discourse on a design studio approach and presents the transference of the Learning Management System that supports distance learning.

For the educator, multiple-image systems have a variety of appeals. It is possible to incorporate existing materials in a variety of media. Production is simple using automatic slide cameras, super-8mm, and the overhead projector. And the product can be tailored to achieve a specific set of educational goals. Upon what rationale, principle, or theory are multiple-image presentations constructed? This paper will attempt to organize whatever pertinent information has been published and, where possible, to introduce relevant research which confirms or disputes the principle in question. Producers have designed multiple-image presentations with remarkable skill even though the underlying theory has not been verbalized. In 1963 when Allen and Cooney made their first research study on the use of simultaneous images in classroom instruction, there were only three prior studies to be found. After a careful search of the literature they concluded that "any thrust toward theory at this time would be premature . . . . the study rests some

This paper extends the principle of the design of the visual field into the outdoor scene. The problems here are more difficult, mainly because streets are used for a great variety of activities with conflicting requirements; unless and until there is more effective segregation of them, effective design of the visual field is not possible. Current means of such segregation are briefly reviewed. The basis of design is outlined, and the problems associated with particular activities are discussed. It is stressed that good visual design must be in the hands of a single designer with powers to act, and that he must consider the whole perspective of the scene and the relation of the components to the whole. The most serious problems in present streets arise from their use as markets, especially at night from commercial lighting and signs, which seriously hinder road users from seeing the visual information which they need. Suggestions are made for practical means for restricting advertising signs in a way whic...

Design change is a continuous phenomenon which cannot be stifled, yet it is the most maligned and least understood of all the concerns of corporate management. Professor Mertes proposes a method for understanding this phenomenon.

Much of the theoretical research on reentry blackout is in a format difficult for the communications design engineer to use in his system analysis. This paper derives simplified equations for the average sheath power loss that may be added (in dB) to the usual space loss to obtain an approximate total propagation loss. The plasma and sheath properties are discussed in detail but largely without supporting mathematics, in order to give the design engineer a better understanding of the overall problem. For the same reason and to provide insight into the final results, the average radiated power is found, using both intuitive and rigorous techniques. Several graphs of plasma properties are included in the development as an aid to numerical computations, and results are compared with the work of other authors.

The civil engineer has a definite social responsibility to consider aesthetics as a part of the design of every facility he creates. To help prepare the civil engineering student to fulfill this responsibility, a new undergraduate course was offered at Southeastern Massachusetts University as a unique interdisciplinary joint venture of the Department of Civil Engineering and the Department of Visual Design.

In this article, we are primarily concerned with the kinds of problems which lend themselves to solutions in visual, graphic terms. Essentially, they may be described as problems in communication which the designer attempts to solve by means of printed words or symbols, by the use of appropriate pictorial images or by exploiting audio-visual techniques. The author are practising designers who also share an interest in the teaching of graphic design; and these interests have determined the form of the discussion which follows. Some observations about the nature of design itself, about the various procedures available to the designer in tackling the problems which are brought to him, are illustrated with brief case histories selected from among those which have directly concerned the authors in the recent past. From these, they have ventured to draw some general conclusions about the possible range and scope of the contribution which the graphic designer may be expected to make-now, and in the future-to the solution of problems in visual communication.

Although fresh intakes of communication design students have grown up with constant digital connectivity and social media, they grapple to comprehend the relationship between communication, legibility, and usability of an analogue, printed publication. New intakes of communication design undergraduates, lack aesthetic sensitivity and formal appreciation of printed type. They are at ease when exploring work digitally, or manipulating forms or text on the computer, but when it comes to design for print, and transcribing text onto non-scalable media e.g., paper, they struggle with basic notions of typography, like weight, size, legibility, and hierarchy of information. Consequently, two analogue, tactile studio activities were developed to complement teaching and learning, and assist students to increase their formal and aesthetic perception of type, typography, and communication design. This qualitative research takes a closer look at the two workshops, and considers its impact on the work produced by students. Aunque las nuevas entradas de estudiantes de diseño de comunicación han crecido con la conectividad digital constante y las redes sociales, también se esfuerzan por comprender la relación entre la comunicación, la legibilidad y la usabilidad de una publicación impresa. Para los estudiantes que ingresan al curso de pregrado en Diseño de la Comunicación, carecen de sensibilidad estética y apreciación formal de los medios físicos, como la impresión. Se sienten cómodos explorando digitalmente o manipulando formas o texto en la computadora, pero cuando se trata de diseño para imprimir en medios no escalables, por ejemplo, papel, adolecen de nociones básicas de tipografía, como peso, tamaño, legibilidad y jerarquía. de información. En consecuencia, se desarrollaron dos actividades analógicas para su aplicación en el estudio de diseño, con exploraciones táctiles para complementar la enseñanza, el aprendizaje y también para ayudar a los estudiantes a aumentar la percepción formal y estética relacionada con la tipografía y el diseño de la comunicación. Este artículo presenta dos talleres desarrollados con el fin de abordar el tema de la materialidad en el estudio del diseño y considera su impacto en el trabajo producido por los estudiantes. Embora novos ingressos de estudantes de design de comunicação tenham crescido com a conectividade digital constante e as mídias sociais, eles também se esforçam para compreender a relação entre comunicação, legibilidade e usabilidade de uma publicação impressa. Para alunos ingressantes na graduação em Design de Comunicação, falta sensibilidade estética e apreciação formal da mídia física, como o impresso. Eles ficam à vontade ao explorar o trabalho digitalmente ou manipular formulários ou texto no computador, mas quando se trata de design para impressão em uma mídia não escalonável, por exemplo, o papel, eles sofrem com noções básicas de tipografia, como peso, tamanho, legibilidade e hierarquia das informações. Consequentemente, duas atividades analógicas foram desenvolvidas para aplicação no estúdio de design, com explorações táteis para complementar o ensino, a aprendizagem e também pra ajudar os alunos a aumentar a percepção formal e estética relacionadas a tipografia e ao design de comunicação. Este artigo apresenta duas oficinas desenvolvidas com o intuito de abordar a questão da materialidade no estudo de design, e considera seu impacto no trabalho produzido pelos alunos.

The monograph defines and describes communication media; discusses the difference between information and instruction, instructional media and instructional aids; and proposes a set of criteria by means of which communication media may be distinguished from nonmedia, one medium distinguished from another, and a single medium distinguished from multimedia applications. A two-dimensional classification system for communication media is proposed: in one dimension, seven classes are defined, based on ways of representing information; in the other, communication media are divided into two groups, telemedia and recording media. Twenty-eight specific communication media are defined and described. This list includes the major available and soon-to-be-available media. (Author)