Graphic design

About: Graphic design is a research topic. Over the lifetime, 2586 publications have been published within this topic receiving 26342 citations.

Wicked Problems in Design Thinking

Abstract: Introduction Despite efforts to discover the foundations of design thinking in the fine arts, the natural sciences, or most recently, the social sciences, design eludes reduction and remains a surprisingly flexible activity. No single definition of design, or branches of professionalized practice such as industrial or graphic design, adequately covers the diversity of ideas and methods gathered together under the label. Indeed, the variety of research reported in conference papers, journal articles, and books suggests that design continues to expand in its meanings and connections, revealing unexpected dimensions in practice as well as understanding. This follows the trend of design thinking in the twentieth century, for we have seen design grow from a trade activity to a segmentedprofession to afield for technical research and to what now should be recognized as a new liberal art of technological culture. It may seem unusual to talk about design as a liberal art, particularly when many people are accustomed to identifying the liberal arts with the traditional "arts and sciences" that are institutionalized in colleges and universities. But the liberal arts are undergoing a revolutionary transformation in twentieth-century culture, and design is one of the areas in which this transformation is strikingly evident. To understand the change that is now underway, it is important to recognize that what are commonly regarded as the liberal arts today are not outside of history. They originated in the Renaissance and underwent prolonged development that culminated in the nineteenth century as a vision of an encyclopedic education of beaux arts, belles lettres, history, various natural sciences and mathematics, philosophy, and the fledgling social sciences. This circle of learning was divided into particular subject matters, each with a proper method or set of methods suitable to its exploration. At their peak as liberal arts, these subject matters provided an integrated understanding of human experience and the array of available knowledge. By the end of the nineteenth century, however, existing subjects were explored with progressively more refined methods, and new subjects were added to accord with advances in knowledge. As a This essay is based on a paper presented at 'Colloque Recherches sur le Design: Incitations, Implications, Interactions," the first French university symposium on design research held October 1990 at l'Universit6 de Technologie de Compiegne, Compiegne, France.

Automating the design of graphical presentations of relational information

Abstract: The goal of the research described in this paper is to develop an application-independent presentation tool that automatically designs effective graphical presentations (such as bar charts, scatter plots, and connected graphs) of relational information. Two problems are raised by this goal: The codification of graphic design criteria in a form that can be used by the presentation tool, and the generation of a wide variety of designs so that the presentation tool can accommodate a wide variety of information. The approach described in this paper is based on the view that graphical presentations are sentences of graphical languages. The graphic design issues are codified as expressiveness and effectiveness criteria for graphical languages. Expressiveness criteria determine whether a graphical language can express the desired information. Effectiveness criteria determine whether a graphical language exploits the capabilities of the output medium and the human visual system. A wide variety of designs can be systematically generated by using a composition algebra that composes a small set of primitive graphical languages. Artificial intelligence techniques are used to implement a prototype presentation tool called APT (A Presentation Tool), which is based on the composition algebra and the graphic design criteria.

An overview of online trust: Concepts, elements, and implications

Abstract: Lack of trust has been repeatedly identified as one of the most formidable barriers to people for engaging in e-commerce, involving transactions in which financial and personal information is submitted to merchants via the Internet. The future of e-commerce is tenuous without a general climate of online trust. Building consumer trust on the Internet presents a challenge for online merchants and is a research topic of increasing interest and importance. This paper provides an overview of the nature and concepts of trust from multi-disciplinary perspectives, and it reviews relevant studies that investigate the elements of online trust. Also, a framework of trust-inducing interface design features articulated from the existing literature is presented. The design features were classified into four dimensions, namely (1) graphic design, (2) structure design, (3) content design, and (4) social-cue design. By applying the design features identified within this framework to e-commerce web site interfaces, online merchants might then anticipate fostering optimal levels of trust in their customers.

Universal Principles of Design

Abstract: Describe, in your own words, the principle involved. Provide two examples (of your own or that you read up on them) that make use this principle. One example must be applicable to computer interface design and antoher one that applies to design in general (service design, printed design, graphic design, space design, etc.). Note that I expect you to read more than just the design principle you will be reporting on. The “See also” section has other references that I expect you will at least scan for examples.