Graphic Symbols–Design And Meaning
Abstract and Figures
Published in: R. E. Griffin, W. J. Gibbs, & V.S. Williams (Eds.) 2000: Natural Vistas Visual Literacy & The World Around Us. Selected Readings of the International Visual Literacy Association. International Visual Literacy Association.
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... Some instructive elements are "statements" comparable with individual words (Pettersson, 2000;Westendorp and Van der Vaarde, 2001) or even sentences. A good symbol is designed so it can be used in many different situations and in many contexts (Pettersson, 2000). ...
... Some instructive elements are "statements" comparable with individual words (Pettersson, 2000;Westendorp and Van der Vaarde, 2001) or even sentences. A good symbol is designed so it can be used in many different situations and in many contexts (Pettersson, 2000). A good symbol is simple, clear, has optimal size, good contrast in form, dimension, and colour. ...
Traditionally the concept of “literacy” was restricted to the ability to read, write and use arithmetic. In a multicultural world with fast technological advances people in all societies need abilities and skills to manage many kinds of systems for communication and information provide in imag-es, symbols, and texts. We all have to learn to interpret visual messages accurately and to create such messages. Interpretation and creation in visual literacy can be said to parallel read-ing and writing in print literacy.
... Some instructive elements are "statements" comparable with individual words (Pettersson, 2000;Westendorp and Van der Vaarde, 2001) or even sentences. A good symbol is designed so it can be used in many different situations and in many contexts (Pettersson, 2000). ...
... Some instructive elements are "statements" comparable with individual words (Pettersson, 2000;Westendorp and Van der Vaarde, 2001) or even sentences. A good symbol is designed so it can be used in many different situations and in many contexts (Pettersson, 2000). A good symbol is simple, clear, has optimal size, good contrast in form, dimension, and colour. ...
The academic discipline Information Design (ID) has incorporated important influences from more than fifty already established disciplines. After many years I have now been able to divide the many “external contributors” into the following six groups of supporting sciences. Primary supporting sciences are: 1) Design disciplines, 2) Communication disciplines, and 3) Information disciplines. Secondary supporting sciences are: 4) Language disciplines, 5) Cognitive disciplines, and 6) Art and aesthetic disciplines.
This book will soon be uploaded at the IIID Public Library < http://www.iiid.net/public-library/iiid-library/ > (almost at the bottom of the page). In the meantime you can send your e-mail-address to me./Rune Pettersson
... Apart from arrows, lines and pointing hands most instructive elements were introduced after World War II. Some instructive elements are "statements" comparable with individual words (Pettersson, 2000;Westendorp and Van der Vaarde, 2001) or even sentences. A good symbol is designed so it can be used in many different situations, and in many contexts (Pettersson, 2000). ...
... Some instructive elements are "statements" comparable with individual words (Pettersson, 2000;Westendorp and Van der Vaarde, 2001) or even sentences. A good symbol is designed so it can be used in many different situations, and in many contexts (Pettersson, 2000). A good symbol is simple, clear, has optimal size, good contrast in form, dimension, and colour. ...
Message design is an interdisciplinary field of knowledge. It encompasses influences and facts from more than fifty established disciplines and areas of research. The main areas of research may be divided into six groups with “base disciplines” such as language, art and aesthetics, information, communication, behaviour and cognition, business and law, as well as media production technologies. The main components in message design are words, visuals and forms. These main components may be used in many different ways to produce, transmit and interpret messages of various kinds in different communication situations. Depending on the different objectives of the messages we can see different “message design genera.” These groups are graphic design, information design, instruction design, mass design, and persuasion design. Message design principles contribute to the design of effective and efficient messages.
You can download the previous edition of this book from IIID Public Library < http://www.iiid.net/public-library/iiid-library/ > (almost at the bottom of the page).
IIID will soon upload the new editions here./Rune Pettersson
... (Peirce 1991) semiotic triangle theory is used in analyzing data verbal symbol. (Pettersson 2000) visual symbol or iconographic theory is used to analyze picture, and (Calero 2005) color theory is used in analyzing data picture colors. These three theories are assumed to be related to each other for the following reasons: picture book is a source that consists of morphological and functional features. ...
This study aimed (1) to describe the semiotic process of environment symbols in The Journey to Atlantis, (2)to generate the meaning of identified symbols which are shown through verbal and non-verbal contained in The Journey to Atlantis. This is a descriptive qualitative study trying to identify and analyze semiosis process of environment symbols, and describe the found verbal and nonverbal symbols in Elisabetta Dami’s The Journey to Atlantis Picture Book using semiotic theory by Charles Sanders Peirce (1991). The data for the finding and analysis were taken from Elisabetta Dami’sThe Journey to Atlantis (2012) Picture Book. The study shows that there are 40 icons in form of words and 36 onomatopoeia as verbal symbols, and 40 picture decribe Atlantis environment and 18 color as nonverbal symbols which are related to the environment.
... In one study Pettersson (2000) compared 52 different pedestrian warning and information crossing road signs from 32 different countries. Every situation and every context demand a consistent use of symbols, an explanation of the symbols used, and learning of the meaning of those symbols. ...
Reuse in Art and Design is about repurposing and reusing images. Throughout history people have reused images and sculptures, as well as parts of images and sculptures, in order to create new artistic expressions, and also new information. This book includes short presentations of some two- and three-dimensional images and found objects that have been reused and repurposed in architecture, art, books, design, learning, and sculpture.
The primary and immediate purpose of the work reported in this chapter is to validate a system for analyzing the form, function, and utility of visual displays of information appearing in text. A secondary purpose is to compare the use of visual displays in basal reading texts with their use in social studies texts; presumably such a comparison would involve a contrast between texts providing instruction in decoding and sight word skills as students learn to read and texts providing instruction in comprehension as students read to learn. But the ultimate goal of the line of research of which this work is a small piece is to understand the cognitive and contextual conditions in which different presentational media (for instance, text, photographs, artwork, maps, diagrams, charts, or tables) help or hinder written communication; put differently, our long-rang’ goal is to understand when a “picture” (in our case, a visual display) is worth a thousand words and when it might not be worth even two or three.
Communication is the production, transmission, and consumption of messages. Messages, discrete units of content, can be as simple as a wink or as complex as the Encyclopedia Britannica. To prepare ourselves to function effectively in this new era requires structuring communications. We begin by identifying and defining key terms. Whereas engineers know the precise meanings of the terms they use (such as torsion, moment, velocity, and so on) the terms communicators use are ambiguous. For example, communicators still argue about the meaning of the elementary term “writing”; a final decision must be made if it means the actual marks on the page which people read or an activity carried on by writers as they conceive content. Once the key terms are defined, they must be related using diagrammatic models. This paper provides a classification and description of various pictorial and linguistic communicative techniques.
College students and elderly subjects rated a fictional glue product contained in seven differ-ently-labeled bottles. Six involved alternative methods of increasing the label surface area relative to a standard, control bottle. The results indicated that both groups of subjects preferred two of the alternative labeling methods (tag and wings) on ease of reading the label, and noticing and reading the warning compared to other methods. On most of the other dimensions, the students preferred the control label, while the elderly subjects preferred the wings label. ' lncreasing the label surface area on very small products appears to be a viable method of enhancing communication of product information and warnings.