Untitled

[huanjiao]

Huanjiao(Hannah) Dong

[huanjiao]

Journal Entry 10- Hannah

[huanjiao]

Journal Entry 9-Hannah

During my walking tour of campus, I saw several examples of our university's use of visual communication to promote sustainability here. Our campus has produced a series of icons advocating for eco-friendly measures like solar-powered trash and recylcing compactors. On the trash compactors graphic design concepts such as color, font, and layout were used to develop these garbage can graphics to ensure that they were both aesthetically pleasing and easy to read. The discipline of semiotics was also used to guarantee that the visuals' target audience.

On-campus navigational aids are another another use of this synthesis. Helping students and faculty find their way through a large and unfamiliar area, like a campus, is the primary goal of wayfinding systems. These wayfinding systems serve a dual purpose of promoting sustainability on campus and facilitating efficient travel around it via the use of eco-friendly materials and design concepts.

I also saw some green roofs on campus. Semiotically speaking, green roofs might stand for the concept of long-term sustainability and environmental consciousness. Incorporating them into a building's design is a public statement that its owners value sustainability and want to do their part to lessen their structure's effect on the environment. Green roofs can be considered as a way to show the public that a building's management is committed to environmental responsibility and is working to lessen its carbon footprint. Green roofs on campus may also have symbolic cultural and aesthetic significance. Some green roofs have been used for centuries and are closely linked to culturally significant architectural practices.

Graphic design, semiotics, and the promotion of sustainability on campus are three related themes that may be employed together to great advantage in the realm of visual communication. By fusing these ideas, campus environmental designers will be able to produce graphics, wayfinding systems, and other visual communication tools that are both aesthetically pleasing and effective in their promotion of sustainable habits and knowledge of environmental challenges.

[huanjiao]

Journal Entry 8- Hannah

Triumph of the Will is a German propaganda movie from 1935. It was directed by Leni Riefenstahl and shows what happened at the Nazi Party Congress in Nuremberg in 1934. Many people think the movie is a gem of propaganda filmmaking, but it's also controversial and hard to understand because it praises Adolf Hitler and the Nazis. Propaganda is the spreading of information or ideas in order to change or control public opinion, usually for political or ideological reasons. Triumph of the Will is a great example of advertising because it tries to make the Nazi Party and its leaders, especially Adolf Hitler, look like they are strong, brave, and attractive. One of the most obvious pieces of propaganda in the movie is how Hitler is shown as a messiah figure who will save Germany and make it great. This is done with carefully written talks that are given with a lot of feeling and passion and are supported by dramatic music and images. In one scene, Hitler gives a speech in front of a huge crowd, and the camera is placed low so that he looks bigger than life. The crowd is shown to be in awe and to hang on every word he says, as if they were watching a miracle. This is a clear example of how propaganda can be used to play with people's feelings and build a cult of personality around a leader. Design semiotics is the study of how signs and symbols in design tell us what they mean. 

Design semiotics are used a lot in Triumph of the Will to show Nazi ideas and propaganda. The swastika is one of the most important images in the movie. It is shown a lot throughout the movie. The swastika is a strong sign that represents the Nazi Party and its ideas of racial purity, nationalism, and authority. The swastika is used in different ways in the movie, like on flags, clothing, and in the way buildings are built, to create a visual language that supports Nazi propaganda. Color is another way that the movie uses design semiotics. The Nazi Party used black, white, and red as its main colors, and this is mirrored in the way the picture looks. When black-and-white video is used, it gives a sense of history, and when red is added, it gives a sense of drama and urgency. This color scheme is used the same way throughout the whole movie. This creates a strong visual language that supports the idea that the movie is Nazi propaganda. 

In Triumph of the Will, graphic design is used to make strong visual messages that support Nazi propaganda. Typography is one of the most striking examples of visual design in the movie. The film has a font that was made just for the Nazi Party and is used a lot. This font is strong and authoritative, with sharp angles and rough lines that give it a bold, aggressive look. Montage is another way that the movie shows how graphic design is used. Montage is a way of cutting a movie in which different shots or images are put together to make a new meaning. Montage is used a lot in Triumph of the Will to make the Nazi Party seem strong and united. For example, the movie shows shots of huge crowds shouting and waving flags, as well as shots of military parades and talks by Nazi leaders. This makes people feel like they are part of a strong, united group, which helps spread the message of Nazi propaganda.

[huanjiao]

Journal Entry 7-Hannah (Connect any course content to current events)

The COVID-19 vaccine is an example of a contemporary problem that has potential connections to semiotics in graphic design. Semiotics in graphic design have been an important part of the process of conveying the significance of vaccination and encouraging individuals to get inoculated, despite the fact that the vaccine has been the subject of a significant amount of debate and disagreement.

Visuals that communicate the importance of immunization have been crafted by designers using a wide variety of symbolic devices. Color, typography, emblems, and iconography are all examples of possible constituents for this category.

It is possible to use different colors to symbolically convey various elements of the vaccine, as color is an essential part of the semiotics of graphic design. For instance, different tints of green and blue could be used to symbolize the field of medicine and the significance of maintaining good public health. Alternately, vibrant hues of yellow and orange could be utilized to communicate the sense of urgency and significance that is associated with immunization.

Within the context of this situation, typography has the potential to be an essential component of graphic design. While ornamental typefaces can be used to evoke feelings of enthusiasm and positivity, sans-serif fonts are best suited for drawing attention to important messages and helping them stick out from the crowd. In addition, designers could use handwriting or cursive typefaces to create a more personable and approachable tone that encourages people to get inoculated. This would help people feel more comfortable getting the vaccination.

A significant part in the process of developing the visual character of immunization may also be played by symbols. To demonstrate the significance of immunization, illustrators may, for instance, make use of photographs depicting hypodermic needles, surgical shields, or even the coronavirus itself. They could also use emblems of community and collaboration, such as hearts or hands gripping together, to generate a feeling of camaraderie around the significance of immunization in order to spread awareness of its significance.

The design of immunization documents may also benefit from the incorporation of imagery as an important component. It is possible to instill a feeling of confidence and credibility regarding the significance of immunization by using photographs of medical practitioners giving the vaccine to patients or of patients themselves receiving the vaccine. In addition, pictures of groups of people getting together, even if they are shown on separate screens, can help foster a feeling of community and encourage individuals to get inoculated for the sake of the greater good.

In addition, memes and other forms of social media could play a part in spreading the word about the importance of immunization and motivating individuals to get inoculated. Images and videos that are either pertinent to people's experiences or humorous and are shared on social media could help attract a larger audience and encourage people to take the necessary steps toward getting inoculated.

During the COVID-19 epidemic, graphic design semiotics have, as a whole, been instrumental in effectively spreading the word about the importance of getting vaccinated. Designers have contributed to the creation of a feeling of urgency and significance regarding the importance of getting inoculated by using color, typography, iconography, imagery, and social media. Visual components can be designed in a way that helps communicate the significance of vaccination and encourages individuals to get inoculated for the sake of improving the overall state of public health.

[huanjiao]

Journal Entry 6- What Hasn’t been Discussed- Hannah

The word "visual research," as defined by the visual methodologies textbook, is the process of gathering data through the use of visual tools. Experts in the field of graphic design can benefit greatly from this type of research as they evaluate visual data to better understand the needs, requirements, and preferences of their target audience. However, designers need to be aware of the societal issues related to the use of graphical data in order to conduct research with integrity.

A significant ethical challenge in the field of eye research is obtaining participant consent. Participants must understand the purpose of the research and the possible outcomes before giving their full consent. Logo designers can benefit from using photographs, movies, and other forms of graphic data. However, they must first obtain consent from the consumers before using the data in any way. This necessitates transparency regarding the study's goals, how their data will be used, and what precautions will be taken to protect their privacy.

Another ethical challenge in vision research is maintaining the confidentiality of research subjects. All gathered data should be kept secret and secure by the makers to prevent any privacy breaches. This means developers should safeguard their customers' personal information.

Creators should have the right to legally gather the visual data they need. In order to prevent any moral dilemmas, creators shouldn't use any data that was illegally obtained. In addition, managers must ensure that the data they use is accurate and offers a true representation of users' perspectives and experiences.

The effects of the research on the participants should not be overlooked by the design team. This calls for a firm commitment to the concept that participants must not be harmed or exploited in any way. Researchers have an ethical obligation to protect the participants of their studies from unfair or derogatory treatment.

The importance of research ethics in visual media cannot be overstated in the area of graphic design. Designers should think about social considerations when conducting visual research. Before using the information gathered, they must ensure the safety of the people and their right to private. As long as they follow ethical standards, makers can create goods that benefit people. 

The Visual Communication Guy website offers a summary of visual study, picture modification, and commercial ethics as they pertain to graphic designers. It also provides access to supplementary information on design principles through connections.

https://thevisualcommunicationguy.com/

The Ethics for Designers Toolkit website covers all aspects of responsible design, from graphic design ethics to the ethics of user study and ethical data representation. There are also instances of ethical design in action and case studies.

https://ethicsfordesigners.com/

Picture Source: https://www.uxtesting.io/blog/76/ethical-design-everything-you-need-to-know

[huanjiao]

Journal Entry 5-Visusal Essay (Hannah)

[huanjiao]

Journal Entry 4 Comparison & Contrast of your project A - Hannah

In Project 1 presentation, I had the opportunity to view different types of maps. Presenters used variety of ways to create the map, Some use more symbolic meanings, some use lines and shapes, some use an actual artifact to create a map. I think those lines, shapes, and artifact are also meaningful map. When I  create a map, we always think about an actural, and more functional map. But map can be creative, map can have different meanings. Some meanings can be hidden. A good map design can be visible or invisible, and the meanings can be related to culture, religion, functionality, persoanlity, and creativity. For graphic designers, i always think about adding all the information to one poster/design, but what about hiding some words? What about hidding some texts and putting all the meanings in one image? I think after reviewing all the maps, it encouraged me to rethink and redesign my future graphic/interactive design thinking. We should not be trapped by some limitations, instead, we should focus more creativity and break the traditional thinking/rules. 

When I reviewed Ugo’s map design, what impressed the most is the design of the map. I like the design of her map, it’s very creative and this map has many meanings. For the map, I can find that she used differet musicnotes to represent stages of her life. However, in my map, I used icons and symbols to represent different stages of my map. I think for my future map design, I can think about how to reorganize and redesign different stages of my lifestyle part. For examples, for my future design, I can use number of icons to represent my age. I can add more icons to let the audience know the changes of my life. In Ugo’s map, she mainly want to express her love towards different types of music, especially music genres she has listened to at different stages of her life. However, in my map, I expressed more about my lifestyle, I want to express the perfect life I’m exploring/dreaming about right now. In my map design, I did not have the change to express my hobbies in my map. For my future map design, I can think about adding my hobby when I want to express my lifestyle. For the colors, Ugo’s map used many different colors, which can be interesting for the map design. For my future map design, I will add more colors to make my map more interesting. In Ugo’s map, texts were added to let the audience better understand the contents. Typography design will also be useful for my future map redesign. I can add typography to my future map design. 

For the similaries for both maps, both of the maps used different types of the colors to reflect the meanings. Both maps used bright colors to attract the audiences’ attention. For both maps, the selections of colors match well with the theme of the map. Also, both maps used paths to express the transtitions of our life. The paths can be circles and straight lines. Both maps used icons and symbols to express the meanings. Although neither maps have utilitarian functions, meanings can be expressed well through the overall design. 

[huanjiao]

Journal Entry 3-Hannah (Feb 13)

Visual Methodologies: Chapters 1-5;

After reading chapters 1 to 5, I started to think about how these topics can be applied in my future thesis research. For my future studies, I want to combine this visual methodology with more conventional spoken and written modes of data collecting. The study's rigor and dependability were bolstered by the use of many methods of data collection and member verification, such as autophotography, photo elicitation interviews, written essays, and questionnaires. My design project participants will have time to take the photographs they want and think carefully about the topics they want to cover in the interview because of the triangulation of methodologies.

Ways of Seeing Part 2 to Part 4: 

The discussions of nude paintings, Berger provides several examples. Women looking at themselves in mirrors and being accused of vanity when, in fact, they are just satisfying men's desire to see them naked and being judged on their physical attractiveness; nude people staring at the camera and judging their own nakedness; people staring at other people staring at them; people staring at other people judging their physical attractiveness. What unites these depictions is the viewer's sensation that the lady is being observed, either by the men shown in the picture or by the woman herself. The nude stifled the women's individuality at a period when European humanism, which requires a strong feeling of the individual, had a major impact on European thought. In Part 3, the authors mentioned that there was a distinct type of affluence that the European oil painting represented. It lauded the capacity to acquire and enjoy material possessions rather than any predetermined hierarchy. Medieval European artists often utilized gold leaf in their works in place of oil paint. After that time, only the frames of their paintings were made of gold. All the paintings did was show how much luxury money and gold could buy. I think for graphic designers, it is necessary to think about the meanings of our design and its relationship with the audience. What do we want to convey through our design? What visual methodologies can be useful our art work? 

[huanjiao]

Journal Entry 2-Hannah

In the Ways of Seeing video, the author mentioned that “The ways of seeing paintings, or seeing anything else, is less spontaneously and natural than we tend to believe. A large part of seeing depends upon habit and convention.” From these we can find that designers habits and convention can affect their reviews on certain projects. Berger also argues in "Ways of Seeing" that the representations of men and women in visual culture invite distinct "gazes," or different ways in which they are looked at, with males having the legitimization of analyzing women, and women likewise examining women. Berger's decision to solely provide photographs in his writings is meant to encourage readers to see parallels between them. This will allow us to analyze them in depth. The image-text studies provide fresh light on the photographs by providing background information, how pictures were first created is a subject of study. John Berger contends, in his book Ways of Seeing, that throughout history, a privileged minority has manipulated the way in which we view art in order to maintain their social and economic dominance. This has occurred in order to keep us dependent on their interpretations of the world's artistic production. This piece of writing questions the notion that in order for us to comprehend and enjoy works of art, we need the assistance of specialists who can "interpret" them for us.

In Pater’s readings, the author brings attention to concerns that should be clear but are, all too frequently, missed by designers: the misinforming graphics, the cultural appropriations that runsack marginalized communities, the icons that pigeonhole groups of people (not all disabled people are in wheelchairs, and not all parents who need to change their baby's nappy are women), and the domain names that required more careful scrutiny are all examples of things that should have died decades ago but haven't. Pater mentioend that the connection that exists between the sign and the thing that it stands for is what fundamentally differentiates pictograms and ideograms from one another. The forms that are more "picture-like" are called pictograms, while the forms that are more abstract and derivative are called ideograms.

[huanjiao]

Journal Entry 1-Hannah: Maps & Graphics & Symbols

eMap codes; and material from Reading Set #1 Mostly Maps; Pater: Information Graphics; Pater: Symbols & Icons

In the maps, knowledge and power article, the author shared the meanings of map and how maps can play different roles in our daily life. I think what impressed me the most is the power of maps. The symbolic meanings in the map can help authors understand the meanings and powers of the authors and express the additional meanings of the map. For the portrait article, the author mentioned that a burning candle, symbol of all seeing wisdom is also great meaning of maps, graphics and symbols. 

The 1st article (Jan Van’s portrait) mentioned orthodox theory. Many people believe that for graphic design, there is just one correct method of perspective, in which lines must converge at some horizon point or points. However, this mathematical method is limited to the physical world, therefore its complete development occurred during the Renaissance's humanistic era. There are several more alternative perspective systems in graphic design that are more concerned with how we see things. As a means of initiating the observer into a certain sphere of spiritual vision, symbols serve as a perspective system. 

In the “Signs in the service of the state” article, what impressed me the most is the topics of intrasignification and extrasignification. According to the author,every map is both a compilation of signs and a sign in its own right; it is a tool for depicting things, events, and locations, and it is also a persuasive tool about these things, their creators, and the map itself. Codes define relations of content and expression in a specific semiotic setting, are the result of this sign just as they are of any other. The codes underlying the map are as diverse as its goals and as deeply embedded in the society that makes use of them. The iconography of cartography, its use of visual language, and the structure of its combined presentation are all governed by a set of interrelated regulations. Each map has a wide range of representational rules and syntactic techniques, from the underlying symbolic principles of individual markers to complex frameworks of cartographic discourse. 

The maps below can represent the topics of intrasignification and extrasignification.