Applying Semiotic Theories To Graphic Design Education: An .
International Education Studies; Vol. 8, No. 12; 2015ISSN 1913-9020 E-ISSN 1913-9039Published by Canadian Center of Science and EducationApplying Semiotic Theories to Graphic Design Education: AnEmpirical Study on Poster Design TeachingChao-Ming Yang1 & Tzu-Fan Hsu21Department of Visual Communication Design, Ming Chi University of Technology, New Taipei City, Taiwan2Department of Commercial Design, Chung Yuan Christian University, Taoyuan City, TaiwanCorrespondence: Chao-Ming Yang, 84 Gungjuan Rd., Taishan Dist., New Taipei City 24301, Taiwan. Tel:886-2-2908-9899. E-mail: yangcm@mail.mcut.edu.twReceived: May 21, 2015doi:10.5539/ies.v8n12p117Accepted: July 1, 2015Online Published: November 25, 2015URL: http://dx.doi.org/10.5539/ies.v8n12p117AbstractThe rationales behind design are dissimilar to those behind art. Establishing an adequate theoretical foundationfor conducting design education can facilitate scientising design methods. Thus, from the perspectives of thesemiotic theories proposed by Saussure and Peirce, we investigated graphic design curricula by performingteaching experiments, verifying the adequacy of applying these theories to poster design. During the teachingexperiment, a matched groups design method was used for assigning 30 students to either an experimental groupor a control group. The results of the experiment revealed that compared with the control group students, theexperimental group students, who applied the semiotic theories to their poster designs, performed morefavourably in image creativity, picture aesthetic, typography, and total poster design score. The posters createdby the students were submitted to International Triennial of Ecological Posters ‘the 4th Block’, and a total of 4creations from the experimental group were accepted. The results of the teaching experiment verify that applyingsemiotic theories to graphic design curricula facilitates improving student ability to observe objects andcultivating their capability to design posters and reinforce the visual tension in the posters.Keywords: semiotic theories, graphic design education, poster design teaching1. IntroductionHumans tend to perceive the world through signs, and their daily life frequently involves symbolisingsurroundings (Hoffmeyer & Emmeche, 1991). In the late nineteenth century, Ferdinand de Saussure (1857–1913)applied the concepts of associationistic psychology and sociology to establish linguistic and semiotic theories.From the perspective of behaviourism, Charles S. Peirce (1839–1914) proposed the concept of pragmatism,laying the foundation of semiotics. Subsequently, numerous scholars have contributed to the research ofsemiotics and applied related concepts to various media and cultures (Michael, 1999). After decades ofdevelopment, design education often frequently involves applying semiotics to teaching or designing (Ashwin,1984). Therefore, semiotics is integral to design education and is an aspect motivating the authors of the presentstudy to conduct this research.The prevalence of sign usages in the late nineteenth century motivated research on ideographic languages (Heim& Kratzer, 1998). This research trend exerted a marked influence on the domain of graphic design, particularlyon design methodology (Bennett, 2006). Since the fifteenth century, design has been invariably perceived as abranch of the arts. Because artists are generally gifted with innate talent, the entire process in which they createart can be difficult to comprehend. Consequently, natural talent is considered necessary for learning graphicdesign (Bennett, 2006). However, the rationales behind creating graphic designs are actually distinct from thosebehind producing art. Moreover, adequate theoretical foundations can enable scientising design methods.Therefore, according to the theories of semiotics, the second research motivation of this study was employing ateaching experiment approach to verify the feasibility of applying semiotics to graphic design teaching.Having been continually used for more than two centuries (Gallo & Quintavalle, 2001), posters are, despitebeing a type of conventional communication medium, essential for propagating information because they aregenerally exposed to viewers at close range (Eskilson, 2012). Regarding the current design education related tovisual communication, poster design training is considered a crucial and professional subject (Findeli, 2001). An117
www.ccsennet.org/iesInternationnal Education StuudiesVol. 8, No. 12; 2015effectivelyy designed pooster should nnot only attracct attention buut also conveyy intended mmessages. Howwever,creating suuch a poster innvolves variouus design conccepts and visuual image exprression. Numeerous scholars havefocused onn investigating poster desiggn from a psyychology persspective (Byrnne, 1990; Coook, 2012), butt fewstudies havve been verifiied according to case studiees involving prractical teachinng. Therefore,, the third reseearchmotivationn of the presennt study was tto examine poster design edducation by peerforming a teaaching experimment.Overall, acccording to thee semiotic theoories proposedd by Saussure aand Peirce andd the developmment backgrounnd oflinguistics and signs, wee attempted to sscientise a dessign methodoloogy for graphicc design educaation.2. Literatuure Review2.1 Theoryy of SemioticsThe term ssemiotics was invented by AAmerican philosopher Peirce. Afterward, Swwiss linguist SSaussure thorouughlyinvestigateed the term andaproposed the concept of semiologyy, which has exerted profoound influencees insubsequennt studies (Y. WuW & S. Wu, 22010). In Couurse in Generall Linguistics, SSaussure elaboorated the meaaningand princiiple of signs, asserting that a sign comprrises two commponents: the signifier, relatted to the phyysicalappearancee of an object,, and the signiffied, pertaining to the mentaal concept of thhe object (Sauussure, 2011). FiskeF(1991) staated that any object in thee universe hass a specific aappearance annd characteristtic. When hummansencounter such objects, theyttend to immpose denotatiive concepts onn the objects; tthe imposed exxternal connotationis determinned through cuultural conventtion, and the act of impositioon is called siggnification (Figgure 1).Figure 1. A relation is between signifier and signiffiedSaussure ((2011) proposeed that languagge is a system for verbally eexpressing thouughts. Creatingg a system of signsinvolves uunity betweenn the signifierr (expressing a concept) aand the signiffied (concept being expresssed).Furthermoore, in such a system,sthe siggnifier and signnified might noot be naturallyy or absolutelyy related; hencee, thesignified nneed not featurre a specific chharacteristic. Inn other words,, the relationall tie between thhe signifier and thesignified ccan be in any form,fand the ssignified needd not denote a ccore meaning to be matchedd with the signnifier;this contenntion reflects the principle of arbitrarineess in linguistic signs (Sauussure, 2011). According too theaforementiioned assertionns, in the present study, we explored the eexample of ‘ ’’. In terms of CChinese characcters,this sign syymbolises the number ten. HHowever, fromm the perspectivve of Eastern cculture, the siggn also signifiees theconcept off perfection. Furthermore,Ftthe sign denottes semantic mmeanings inclluding sight, a cross, a hospital,Christianitty, position, anda redemptioon, which are signified conncepts that caan also be reppresented by othersignifiers ((Figure 2).118
www.ccsennet.org/iesInternationnal Education StuudiesVol. 8, No. 12; 2015Figure 2. The arbitrarinness principle oof linguistic siignsPeirce assserted that signs are omniprresent as longg as humans eexist (Deledalll, 2000). Usinng continuismm andrealism as core conceptss, Peirce divideed signs into tthree elements: (a) a represenntamen, the foorm of the signn thatrepresents a thing; (b) ann object, the thhing to which the sign refers; and (c) an interpretant, thhe connotationss andfunctions oof a sign perceeived by a viewwer. A close reelational tie ammongst these ellements facilitaates elaboratinng theconnotatioon of a sign (PPonzio & Petrrilli, 2009). Addditionally, Peeirce further caategorised signs into three typestaccording to the relatioonship betweeen the charactteristics of a sign and its object: (a) ann icon, a signn thatphysicallyy resembles its object (e.g., a portrait); (b) aan index, whicch does not proovide direct innformation about itsobject; howwever, the objject can be commprehended thhrough inferennce or associattion (e.g., fire hot); and (c) asymbol, a sign that is deefined throughh cultural convventions or muust be learned tto understand its object (e.g., womenn) (Eco 1986). Figure 3 shoows a summaryy of the sign ttheories propoosed by Peircee. We applied thesetheories ass the theoreticaal foundation ffor conducting related coursees.Figure 3. Thee structure of tthe sign notionn of Charies S. Perirce2.2 Graphic Design Devvelopment and EducationThe term ggraphic designn was inventedd by William AA. Dwiggins in 1992. Amonggst all types off art, graphic deesignis the mosst globalised anda an omniprresent applicattion that faciliitates explaininng, decoratingg, or identifyinng anobject (Neewark, 2002). The process of graphic deesign involves selecting andd arranging immages on a graaphicmedium too convey a conncept (Barnar, 2013). Most ggraphic designn creations commprise both immages and texts, andan adequatte integration betweenbthese two aspects iss necessary forr clearly expressing the meanning of the creation.Barnar (20013) stated thaat graphic desiggn pertains to a process in wwhich texts andd images are coonverted into signs.sHowever, because eachh sign represeents unique mmeanings, variously combinning signs miight generate newmeanings. Therefore, ann excellent grraphic design creation not oonly enables vviewers to eaasily understannd its119
www.ccsennet.org/iesInternationnal Education StuudiesVol. 8, No. 12; 2015intended mmessages but alsoa displays siigns to elicit vviewer imaginaation and artistic conceptionns that are baseed onpersonal exxperience.Graphic design involvess logical thinkking (Byrne, 1990) and encoompasses the pprototypes creeated by artistss anddesigners ((Newark, 20022). In the past, graphic desiggners were callled commerciaal artists (Holliis, 2001). Howwever,their sociaal role has beeen gradually cllarified as socciety advances (Frascara, 19988). Specificaally, graphic deesigncan be perrceived in a prroduct cocreateed through inddustrial societyy and cultural eeconomics (Hollis, 2001). VisualVstyle, an eessential aspecct of graphic design, has bbeen discussedd by numerouss scholars andd experts. Frascara(1988) assserted that conttentions regardding visual styyle should be reevised. For exaample, the impportance of a visualvstructure wwithin an aestthetic context is frequently overemphasized, and that oof an idea in tthe communicationprocess is often omittedd. The differennce between vvisual creationn and visual mmanipulation iis unclear, andd theinfluence oof graphic commmunication onn public ideas and feedback is commonly disregarded.After Bauuhaus was fouunded in 1919, design beccame an integgrated sciencee requiring sttudents to possessknowledgee in design hiistory and coggnitive psychoology and to mmaster variouss drawing techhniques (Marggolin,2002). Furrthermore, voccational schoolls, art schools, or higher educcation institutiions have listedd graphic desiggn asan essentiaal course (Swaanson, 1994). SSwanson (1994) stated that tthe mature devvelopment of ccommercial soocietyhas enableed the public to gradually accept the graaphic design pprofession. Moreover, mostt people agreee thatgraphic deesigners can useu their uniquue creativity annd aesthetic iddeas to generaate profit for cclients’ produccts orservices. HHowever, Bennnett (2006) ccontended thaat the fundammental rules off graphic desiign remain vaague.Therefore,, whether the practicepof grapphic design shhould be based on artistic intuuition or logicaal thinking remmainscontroverssial. Schenk (1991) proposed three phases of graphhic design: ppreparation, mmain creative, andproductionn phases (Figurre 4). These phhases can be a reference for formulating grraphic design ccurricula.Figurre 4. The three processes for training of graaphic design (SSchenk, 1991)3. Researcch Design3.1 Experiimental ProceddureThe teaching experimennt was conduccted during thhe poster desiggn chapter of a graphic dessign course. Publicwelfare waas selected as thet poster desiign theme duriing a 4-week ccourse schedulle. In the beginnning of the coourse,54 studentts individuallyy designed a ppublic welfaree poster. The pposter grades were used as pretest scoress andinputted innto a statisticall program that arranged the sscores into a seequence. The mmedian of the scores was used asthe datum point, from bothbsides of wwhich 30 studdents were seleected as the fiinal experimenntal participannts. Amatched ggroups design methodmwas thhen applied to assign the parrticipants into either Group A or Group B, witheach groupp comprising 151 students. Grroup A (experiimental group)) and Group B (control groupp) received graaphicdesign couurse scheduless involving annd not involviing semiotic thheory courses, respectively. The experimmentalprocedure is detailed as follows (Figurre 5):120
www.ccsennet.org/iesInternationnal Education StuudiesVol. 8, No. 12; 2015Figurre 5. A flow chhart for teachinng experiment3.2 Pretestt and Group MatchingMA purposivve sampling methodmwas appplied to selectt the Departmeent of Visual CCommunication Design freshhmanstudents (aaged 18–19 yeears) who hadd received no graphic designn training. Beefore the officiial experimentt wasconductedd, 54 freshman students enroolled in the graaphic design coourse indepenndently createdd a poster (A4 size)on the themme of global warming.wThe rrequired posteer content incluuded elements such as picturres, a headline, andbody text, and a report ofo 100 words oor less describing the designn concept had tto be submitteed with each pooster.The duratiion of the preteest was 3 hourrs. After the poosters were creeated, two teacchers who formmerly were graaphicdesign couurse instructorss acted as judgges, grading thhe posters accoording to four criteria: imagee creativity, pictureaesthetic, ccolour applicaation, and typography. Each ccriterion accouunted for 25% of the total sccore. The scorees foreach criterrion were summmed, and thenn the grades givven by the twoo judges were averaged to obbtain a total prretestscore.After the ppretest posters were graded, we evaluated the scores giveen by the judgges. When the difference betwweenthe scores of a poster waas 10 points, the judges reeevaluated the pposter. When thhe revaluated scores still diffferedby 10 pooints, the posteer was excludeed from the exxperiment. Ammongst the 54 pretest posterss, five posters withscores difffering by 10 pooints or more wwere excludedd. Thus, a totall of 49 posterss were includedd in the subseqquentexperimennt. The scores of the posterss were inputteed into the SPPSS statistical software to coonduct Spearmman’srank correelation coefficient analysis. The results rrevealed that tthe Spearman’’s ρ value waas 0.714 (p .05),indicating that the scoress given by the two judges weere consistent.m each side off which 15 studdentsThe mediaan (80.25 pointts) of the preteest scores was used as the daatum point, fromwere seleccted. Thereforee, a total of 30 students weree chosen to parrticipate in the teaching expeeriment. The prretestscores of tthe students werewarranged ffrom the higheest to the lowest. Next, a maatched groups ddesign methodd wasapplied to assign the stuudents into eitther Group A (experimentall group) or Group B (contrrol group), witth 15students inn each group. TheT two groupps of students undertook disssimilar teachinng activities (TTable 1). To ennsurethat the stuudents were eqqually competeent in poster ddesigning, we ccalculated the averaged preteest scores and usedthe indepeendent sample t test to evaluaate the differennce between thhe average scoores. The resullts revealed thaat theaverage ppretest scores of Group A (81.13 5.09 points) annd Group B (80.63 6.552 points) diffferednonsignficcantly (t .8866, df 28, p .381), indicatting that beforre participatingg in the experimental curricuulum,the studentts were equallyy capable of poster designingg.Table 1. GGrouping of thee experimental participantsScore ordderingSubbject 1Subjject 2Subject 3Subjeect 4Subject 5Subjecct 6Subjectt 7Group MMatchingGrooup AGrouup BGrouup BGroupp AGroupp AGroup BGroup BSubjject 9Subject 10 .Subject 28Subjecct 29Subjectt 30Grouup AGrouup B .Groupp AGroup AGroup BScore ordderingGroup MMatchingSuubject 8Grooup A121
www.ccsenet.org/iesInternational Education StudiesVol. 8, No. 12; 20153.3 Course DesignThe experimental and control group participants were subjected to 4 weeks of teaching activities. During the first90 minutes of the weekly 3-hour course, the instructor taught the students, and the students then engaged inpractical activities for the remainder of the time. Therefore, the students received a total of 720 hours of trainingduring the 4-week period. Additionally, the instructor directed the students to each select a public welfare topicaccording to the course content. The students had to design three poster concepts on their selected topics and,subsequently, from amongst the three concepts, select one concept from which to design a final poster.The course textbooks included The Essential Principles of Graphic Design (Millman, 2008), Graphic Design:The New Basics (Lupton & Phillips, 2014), 100 Ideas that Changed Graphic Design (Heller & Vienne, 2012),and Effective Poster Design (Van Dalen et al., 2002). Furthermore, the ADDIE (Analysis Design Development Implementation Evaluation) teaching model was applied to guide students towardscompleting their posters. In the first week, course schedules for both groups were identical. However, beginningthe second week, the case teaching method was used to guide the students in the control group, but coursematerials related to semiotic theories were excluded. By contrast, the experimental group students receivedadditional course materials on semiotic theories and were instructed in poster creation involving aspects ofimages and signs. The course content of the two groups are explained as follows (Table 2):Table 2. Curriculum content of the experimental and control groupsExperimental group (Group A)Control group (Group B)Curriculum contentsWeek 1Topic: Introduction to public welfare posterdesignContent: From the perspectives of sociology,economics, and culture, explain the definitionand themes of public welfare posters and guidestudents in proposing a theme.Topic: Introduction to public welfare posterdesignContent: From the perspectives of sociology,economics, and culture, explain the definitionand themes of public welfare posters and guidestudents in proposing a theme.Week 2Topic: Relationship between public welfarethemes and semiotic theoriesContent: Introduce the semiotic theoriesproposed by Saussure and Peirce and explain theimplications of images and signs in posters andthe process of encoding and decoding signs.Topic: Styles and types of public welfare posterdesignContent: Compile and categorise the posterscreated by international competition winners andfamous designers. Explain to students thevarious styles and types of poster design.Week 3Topic: Functions of images and signs in publicwelfare postersContent:Throughvisualterminologiesincluding images, texts, and colours, integratedesign images and visualise the thoughts ofposter designers.Topic: Colour and visual expression used inpublic welfare postersContent: Compile and categorise the posterscreated by international competition winners andfamous designers. Explain to students the colourusages and visual expressions in the posters.Week 4Topic: Techniques for creating public welfareposter imagesContent: Explain how signs convey metaphorsand metonymies. Guide students in applyingsimilarities between objects to create the visualimages for the posters.Topic: Composition of texts and images inpublic welfare postersContent: Compile and categorise the posterscreated by international competition winners andfamous designers. Explain to students the textualarrangements and image elements in the posters.3.4 Reliability of the JudgesAfter the 4-week course concluded, the two pretest judges participated in posttest evaluation. According to thefour grading criteria in the pretest, the judges evaluated the posttest posters. The scores received for eachcriterion were summed, and the scores from each judges were averaged to obtain posttest scores. Subsequently,Spearman’s rank correlation coefficient analysis was applied to examine the posttest scores. The results revealedthat the Spearman’s ρ values of image creativity, picture aesthetic, colour application, and typography were0.876 (p .000), 1.02 (p .000), 0.634 (p .008), and 0.734 (p .000), respectively, indicating that the122
www.ccsenet.org/iesInternational Education StudiesVol. 8, No. 12; 2015reliability coefficients of the four grading criteria reached the p .05 significance level. Furthermore, theSpearman’s ρ value of the total score was 0.987 (p .000), indicating that the posttest scores given by the judgeswere consistent. In other words, the scores of the posters created by the students during the course werestatistically reliable. Therefore, subsequent analyses were conducted to examine the difference between the twogroups.4. ResultThe results revealed that the average image creativity, picture aesthetic, colour application, typography, and totalscores of the experimental group were 22.80 0.77, 21.93 0.88, 20.40 1.01, 21.33 0.72, and 86.85 2.99points, respectively. The average image creativity, picture aesthetic, colour application, typography, and totalscores of the control group were 21.13 1.36, 20.93 0.96, 20.80 1.18, 20.53 1.06, and 83.05 4.11 points,respectively. The standard deviation (SD) values of the scores received by the two groups signified that the fourcriterion scores and the total scores received by the experimental group were more consistent than those receivedby the control group (Table 3).Table 3. Average scores and standard deviations of experimental and control groupsExperimental group (Group A)Control group (Group B)MSDMSDImage creativity (25%)22.80.7721.131.36Picture aesthetic (25%)21.93.8820.93.96Color application (25%)20.401.0120.801.18Typography (25%)21.33.7220.531.06Total score86.852.9983.054.11A one-way analysis of variance (ANOVA) method was applied to further analyse the difference between the fourcriterion scores and the total scores (Table 4). The results revealed that the image creativity score of theexperimental group (22.80 points) was significantly higher (F(1, 28) 17.90, p .000) than that of the controlgroup (21.13 points). Furthermore, the average picture aesthetic score (M experimental group 21.93 M control group 20.93; F(1, 28) 8.80; p .006), typography score (M experimental group 21.33 M control group 20.53; F(1, 28) 5.82; p .023), and total score (M experimental group 86.85 M control group 83.05; F(1, 28) 8.36; p .007) of theexperimental group were significantly higher than those of the control group. By contrast, the average colourapplication score of the experiment group differed nonsignificantly from that of the control group (F(1, 28) 0.99; p .326).123
www.ccsenet.org/iesInternational Education StudiesVol. 8, No. 12; 2015Table 4. One-way ANOVA results for experimental and control groupsBetweenGroupsWithin GroupsBetweenGroupsWithin GroupsBetweenGroupsWithin GroupsBetweenGroupsWithin GroupsBetweenGroupsWithin GroupsImage creativityPicture aestheticColor applicationTypographyTotal score***p. 05; p 1.007**362.672812.95***p .001.5. Discussion5.1 Performance on Image and Sign Use for Designing PostersThe teaching experiment confirmed that applying semiotic theories to graphic design education enhanced studentability in poster design. Particularly, the improvement in image creativity was the most noticeable compared withother aspects of designing. In other words, integrating semiotic course materials into graphic design curricula canenrich student creativity in poster design. We assert that poster designers can apply images and signs and selectadequate visual elements according to the design imagery. Methods including conversion, combination, deletion,and analogy can be used to associate, encode, and transform selected visual elements in specific sign systems forcreating posters. Viewers can interpret the visual sematic messages of the posters according to personal andcultural experiences. Such a process can enhance not only the creativity of poster designers but also the sense ofentertainment experienced by poster viewers; thus, the designers and viewers can communicate and interactthrough posters.Figures 6 and 7 illustrate posters on the theme of ‘peace’, created by the experimental and control group students,respectively. The creator of the poster in Figure 6 used the image of a dandelion to signify the act of spreading,creating an analogy by replacing images of the dandelion seeds with images of grenades. The dandelion seedswaft from the lower right corner to the top left corner, silhouetted against a crimson background that reflects asense of alertness, and the poster heading is displayed by the word ‘SPREAD’. Overall, this poster sarcasticallyaddresses how fear induced by war has gradually spread worldwide. Furthermore, the completeness of the posterenables the viewer to be guided to deliberate the true implication of peace. By contrast, the creator of the posterdepicted in Figure 7 predictably used the image of a dove, placing it at the centre of the poster against abackground image of flames; the poster heading is displayed by the phrase ‘The War-torn peace’. Because thecreativity, aesthetics, and arrangement of this poster were less attractive than those of the poster in Figure 6, thisposter inefficiently motivates viewers to reflect on the implication of peace. Overall, applying semiotic theoriesto poster design curricula enabled guiding the students in deliberating relationships amongst signs from theperspective of image implication, thereby enriching the creativity and aesthetics of the poster designs andimproving the arrangement and use of poster headings.124
www.ccsennet.org/iesInternationnal Education StuudiesFigure 6. PPoster created by experimenttal group studeentVol. 8, No. 12; 2015Figurre 7. Poster creeated by controol group studennt5.2 Imagess and Signs Reeinforcing the LLogical Thinkiing of Poster DDesignersAccordingg to communiication principple perspectivves, sign strucctures and infformation proccessing have beenemphasiseed by graphic designers (Byyrne, 1990). Pooster design iss a domain in graphic desiggn; it utilises visualvmarks as a medium to convey messaages. By appllying meaninggful images, ddesigners can create posterss thattransmit innformation andd communicate with the pubblic. Visual maarks, includingg texts, picturees, images, collours,and texturees, are essentiaal in graphic ddesign becausee integrating suuch marks, or sign elements, enables posteers tofunction aas a communiccation mediumm for propagattion and demoonstration. Fuurthermore, posters function as acarrier invvolving image designs. Becauuse images cann be used to syymbolise objeects, image dessign is perceived asan expresssive visual commmunication mmethod. An immage loaded wwith connotative information enables vieweers toassociate iimaginings witth the image coontent, which is directly andd efficiently coonveyed to the viewers. Moreeover,visual infformation connveyed througgh images can complemeent the insuffficiency of ttextual and audioacommuniccation. Therefoore, images aree a crucial asppect of poster ddesign, and semmiotic theories can be applied tostrengthenn the visual tennsion of a posteer.The proceess of poster designdinvolvees encoding aand decoding vvisual images. When encodding an imagee, thedesigner mmust attempt too prevent the cconveyed messsage from beinng misunderstoood by the vieewer. Thereforee, wepropose thhree approachees for mitigatiing this conceern: (a) Associiative approach: Shared expperience or cullturalbackgrounnds can be appplied to develop image siggns. (b) Primiitive approachh: A highly mmentalised image isselected acccording to thee intended messsage of the pooster. (c) Cognnitive approachh: From the perrspective of huumancognition, the poster deesigner formulaates an imagee concept conssistent with the mental moddels of the viewwers.These threee approachess can be integgrated throughh the concepts of sign charaacteristics (icoon, index, symmbol)proposed bby Peirce andd the theories of arbitrary annd associativee relation propposed by Sausssure to establish amethodoloogy for poster design. For exxample, to creaate a poster onn an environmeental topic succh as the high coralmortality iinduced by poollution of thee ocean, a dessigner can assoociate the symmbol of death with the imagge ofbones. Nexxt, the iconic imagesiof coraal and bones caan be integrateed to form an immage connotinng the phenommenonof coral blleaching. Finallly, a sarcastic poster heading, ‘White Coraal’, can be addded. Through tthis design proocess,the intendeed message off the poster cann be correctly cconveyed (Figuure 8).125
www.ccsennet.org/iesInternationnal Education StuudiesVol. 8, No. 12; 2015FFigure8. The pprocess of semmiotics applicattion to the postter picture5.3 Appli
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Graphic Organizer 8 Table: Pyramid 8 Graphic Organizer 9 Fishbone Diagram 9 Graphic Organizer 10 Horizontal Time Line 10 Graphic Organizer 11 Vertical Time Line 11 Graphic Organizer 12 Problem-Solution Chart 12 Graphic Organizer 13 Cause-Effect Chart 13 Graphic Organizer 14 Cause-Effect Chart 14
SOCIAL PSYCHOLOGY 63-81 Learning Objectives 63 Key Terms 63 Role Theories 65 Motivational Theories 67 Learning Theories 69 Cognitive Theories 73 Symbolic Interaction Theories 75 Socio-Cultural Theories 77 Evolutionary Theories 78 Summary and review 80 review QueStionS 81 4. SELF AND IDENTITY 82-107
4. Does graphic show a relationship to the story? 5. Does graphic show a sound design technique? 6. Does graphic show an awareness of news value? 7. Does graphic utilize effective use of images? 8. Does graphic utilize effective fonts? 9. Does the graphic reflect accuracy of information? 10. Is the graphic free of grammatical and style errors? 11.
2 S o c i a l T h e o r i e s Theories can be used to study society—millions of people in a state, country, or even at the world level. When theories are used at this level they are referred to as macro-level theories, theories which best fit the study of massive numbers of people (typically Conflict and Functional theories).
at the graphic novel rubric in order to know you know what your teacher expects from you. Before you begin creating your own graphic novel/ comic, have a look at some samples of graphic novels / comics. Step four: Create a first draft for your own graphic novel/ comic and gather or sketch images. Now that you had a look at other graphic novels and comics, you may already have formed an idea .
The graphic mark was designed to work with the logo, but may also stand-alone. When the graphic mark is used as a stand-alone graphic, the full logo must also be used somewhere in the piece. When used as a stand-alone graphic, the primary graphic mark is the three-color version shown here. U
FUNCTIONAL AREA 1 APPLIED GRAPHIC DESIGN COMPETENCY LEVEL UNIT 1 Graphic Design Workflow TLO 7 APPLY graphic design workflow P ELO 7.1 Identify steps of the graphic design workflow ELO 7.2 Ideate elements for graphic design products ELO 7.3 Produce a design brief ELO 7.4 Present a design brief Unit 1 Hours: 3 UNIT 2 Digital Drawing
API RP 500 and API RP 505 NFPA 497 and NFPA 499. PETRONAS Technical Standards provides guidelines to ensure proper management of Ex Equipment. 1. Ex Electrical Equipment Inspection and Maintenance Guidelines (Ex IMG) Standards and Guidelines Personnel Inspection Maintenance 2. Ex Equipment Repair Guidelines (Ex ERG) 3. Ex Management Assessment Guidelines (Ex MAG) 4. Ex .
