Visual Asset Design Promotion Ciwidey Gambung Tea Plantation Agrotourism Area

Agro Tourism The Gambung Ciwidey tea plantation is one of the agrotourism in Bandung Regency. This agrotourism is located in the Gambung tea plantation. It is unfortunate with the many potentials there but not many people know about the existence of this agrotourism. It is necessary to design a promotion with effective media, so that the public knows the whereabouts of this place and is interested in visiting the Ciwidey Tea Plantation Agro Tourism. The obstacle faced by Gambung Ciwidey Tea Plantation Agro Tourism is the lack of promotional media used, as well as limited information. In solving this problem, researchers will use promotional material through the medium of photography. Where pho-tography techniques will be used in taking photo objects with composition techniques such as symmetrical composition, the rule of thirds, and the golden rule. It is hoped that the promotion of this material can contribute to the community in the Gambung tea plantation which requires promotional materials to introduce the Gambung Ciwidey tea plantation agrotourism widely to the public and invite tourists to visit this place. Key word : Promotion, Photography, Agrotouris

Industrial Design: On Its Characteristics and Relationships to the Visual Fine Arts

Industrial design and the visual arts share a common aesthetic basis as demonstrated by their common use of aesthetic principles and by designers who are also visual artists. The author examines the rationale for exhibiting industrial products in art museums and the similarities and differences between industrial design and the fine arts. He argues that industrial design shares important theoretical concepts (expression, representation and style) with the visual fine arts

The art object does not embody a form of knowledge

This paper makes explicit the claim that the proper goal of visual arts research is visual art. This claim is consistent with the view held by many scholars in the visual arts community, who see art as a form of research (cf. K. Macleod and L. Holdridge, Thinking through Art: Reflections on Art as Research, London: Routledge, 2006), but accept that research is an original investigation undertaken in order to gain knowledge and understanding. This being the case, the knowledge acquired either resides in the art object and/or secondary outcomes (e.g., a texts). This paper argues against the proposition that the art object is a form of knowledge. Although consistent with Biggs' (2002) paper 'The role of the artefact in art and design research', published in International Journal of Design Sciences and Technology. 10:2, 19-24 (which did not actually appear in print until 2004), Biggs holds to the above definition of research and subsequently focuses on experiential knowledge (2004). However, if, as claimed here, the proper goal of visual arts research is visual art, and if visual art is not a form of knowledge, then visual arts research is not in essence a knowledge acquisition process. This dilemma is resolved by proposing that visual art making serves a different purpose to knowledge acquisition and that visual arts research would be better described as original creation undertaken in order to generate novel apprehension, thus developing the fundamental proposition presented a paper published by the author in the International Journal of Design Sciences and Technology in 2002. Biggs, M. A. R. (2004). Learning from Experience: approaches to the experiential component of practice-based research. Forskning-Reflektion-Utveckling. H. Karlsson. Stockholm, Swedish Research Council: 6-21. Scrivener, S.A.R. (2002) Characterising creative-production doctoral projects in art and design. International Journal of Design Sciences and Technology, 10(2), pp. 25 - 44. (appeared 2004

What visual literacy is not!

This paper intends to help design educators reach a more informed understanding of visual literacy by stating what we already know it is not, in order to promote discussion on how it can be fostered. This paper is based on Jefferies’ PhD research from an empirical visual experiment carried out on a wide range of design practitioners, design students and the general public. Specific terms of influence such as ‘fixed’, ‘cross-disciplines’ and ‘accessibility’ were highlighted for discussion when considering what visual literacy is not, and were consequently used to frame the problem. When considering each of these influences in terms of seeing; (a) Viewing visual language as a ‘fixed’ vocabulary does not allow for each working context to have its own visual value system. (b) Literacy of ‘cross-disciplines’ may not enable a way of seeing to be transferred between each design discipline. (c) ‘Accessibility’ in terms of a student’s ability to read or write an image can not be determined from a designer’s final product, as each individual and context is different. It is proposed that debating the three identified areas will heighten design educators’ awareness and provide a valuable basis for future pedagogy practices

A Study of the Role of Visual Information in Supporting Ideation in Graphic Design

Existing computer technologies poorly support the ideation phase common to graphic design practice. Finding and indexing visual material to assist the process of ideation often fall on the designer, leading to user experiences that are less than ideal. To inform development of computer systems to assist graphic designers in the ideation phase of the design process, we conducted interviews with 15 professional graphic designers about their design process and visual information needs. Based on the study, we propose a set of requirements for an ideation-support system for graphic design

Design principles of columnar organization in visual cortex

Visual space is represented by cortical cells in an orderly manner. Only little variation in the cell behavior is found with changing depth below the cortical surface, that is, all cells in a column with axis perpendicular to the cortical plane have approximately the same properties (Hubel and Wiesel 1962, 1963, 1968). Therefore, the multiple features of the visual space (e.g., position in visual space, preferred orientation, and orientation tuning strength) are mapped on a two-dimensional space, the cortical plane. Such a dimension reduction leads to complex maps (Durbin and Mitchison 1990) that so far have evaded an intuitive understanding. Analyzing optical imaging data (Blasdel 1992a, b; Blasdel and Salama 1986; Grinvald et al. 1986) using a theoretical approach we will show that the most salient features of these maps can be understood from a few basic design principles: local correlation, modularity, isotropy, and homogeneity. These principles can be defined in a mathematically exact sense in the Fourier domain by a rather simple annulus-like spectral structure. Many of the models that have been developed to explain the mapping of the preferred orientations (Cooper et al. 1979; Legendy 1978; Linsker 1986a, b; Miller 1992; Nass and Cooper 1975; Obermayer et al. 1990, 1992; Soodak 1987; Swindale 1982, 1985, 1992; von der Malsburg 1973; von der Malsburg and Cowan 1982) are quite successful in generating maps that are close to experimental maps. We suggest that this success is due to these principles, which are common properties of the models and of biological maps

Categorisation of visualisation methods to support the design of Human-Computer Interaction systems

During the design of Human-Computer Interaction (HCI) systems, the creation of visual artefacts forms an important part of design. On one hand producing a visual artefact has a number of advantages: it helps designers to externalise their thought and acts as a common language between different stakeholders. On the other hand, if an inappropriate visualisation method is employed it could hinder the design process. To support the design of HCI systems, this paper reviews the categorisation of visualisation methods used in HCI. A keyword search is conducted to identify a) current HCI design methods, b) approaches of selecting these methods. The resulting design methods are filtered to create a list of just visualisation methods. These are then categorised using the approaches identified in (b). As a result 23 HCI visualisation methods are identified and categorised in 5 selection approaches (The Recipient, Primary Purpose, Visual Archetype, Interaction Type, and The Design Process).Innovate UK, EPSRC, Airbus Group Innovation

The Design of Visual Communication Design Media Shaped Product Catalog as a Medium of Promotion and Information on PT Trans Nusantara Access (Authorized Dealer Xl) Tangerang

Ilmu pengetahuan dan teknologi informasi berkembang cukup pesat dan menghasilkan inovasi-inovasi baru yang senantiasa terus berubah ke era yang lebih baik. Informasi menjadi kata kunci dalam berbagai aspek kehidupan, siapa yang dapat menguasai informasi, baik pengusaha dalam proses penyajian, maupun pendapatan, ia akan bisa bertahan ditengah persaingan yang sedemikian ketat. Dengan alasan inilah perhatian terhadap proses informasi menjadi sangat ditekankan. Teknologi informasi khususnya teknologi berbasis multimedia diharapkan dapat memberikan peranan penting dalam proses penyaluran informasi, aplikasi multimedia mampu menghasilkan suatu informasi menjadi lebih efektif dan komunikatif.   Kata kunci: Promosi, Visual, Multimedia