As a text-like structure a design object can be read and has meaning insofar,
as all elements con... more As a text-like structure a design object can be read and has meaning insofar, as all elements contribute to the total communicative effect that is grounded in the culture behind the text. Since influence occurs through the management of visual materials that produce meanings, design objects wield rhetorical force because of the ideas and meanings they support.
Introduction The creative process of finding appropriate design solutions to visu-al problems wou... more Introduction The creative process of finding appropriate design solutions to visu-al problems would become more accessible and more probable, and could be enriched if designers were more conscious of the underly-ing system of concept formation. Instead, they seem to use ...
After lying dorment for most of the past three centuries, rhetoric is slowly re-appearing on cent... more After lying dorment for most of the past three centuries, rhetoric is slowly re-appearing on centre-stage in the post-modern environment. The article demonstrates the presence of figures of speech in graphic discourse that represent potential invention materials for designers.
... In contemporary media-scape the heart symbol can be found on Valentine's and birthday ... more ... In contemporary media-scape the heart symbol can be found on Valentine's and birthday cards; on posters, logos, ads, bumper stickers and wrapping papers; and we impose its shape on anything from candies, cakes, balloons, jewelry to buttons, garments, gift boxes, and ...
Designer und Designerinnen verwenden Farben, Schriften, Bilder und andere grafische Elemente, um ... more Designer und Designerinnen verwenden Farben, Schriften, Bilder und andere grafische Elemente, um greifbare, visuelle Gegenstä nde zu entwickeln, die der Kommunikation mit einem bestimmten Publikum dienen sollen. Dieser Prozess beinhaltet in der Regel den Versuch, dieses Publikum zu beeinflussen oder gar zu überreden. Also muss das, was durch das visuelle Material ausgedrückt wird, glaubhaft und überzeugend sein. Es bietet sich von daher an, das Kommunikationsdesign als rhetorische Praxis zu betrachten. Um den heutigen Herausforderungen in Gesellschaft, Technologie und multimedialen Kommunikationsbereichen gerecht werden zu können und um die Komplexitä ten und Limitierungen zu meistern, die der Gestaltung des Kommunikationsprozesses und den daraus resultierenden Produkten zu eigen sind — so die Argumentation einiger Designschaffender —, bedarf das Design nicht nur eines Könnens, sondern auch eines Wissens im Sinne einer wissenschaftlichen Grundlage.
As a text-like structure a design object can be read and has meaning insofar,
as all elements con... more As a text-like structure a design object can be read and has meaning insofar, as all elements contribute to the total communicative effect that is grounded in the culture behind the text. Since influence occurs through the management of visual materials that produce meanings, design objects wield rhetorical force because of the ideas and meanings they support.
Introduction The creative process of finding appropriate design solutions to visu-al problems wou... more Introduction The creative process of finding appropriate design solutions to visu-al problems would become more accessible and more probable, and could be enriched if designers were more conscious of the underly-ing system of concept formation. Instead, they seem to use ...
After lying dorment for most of the past three centuries, rhetoric is slowly re-appearing on cent... more After lying dorment for most of the past three centuries, rhetoric is slowly re-appearing on centre-stage in the post-modern environment. The article demonstrates the presence of figures of speech in graphic discourse that represent potential invention materials for designers.
... In contemporary media-scape the heart symbol can be found on Valentine's and birthday ... more ... In contemporary media-scape the heart symbol can be found on Valentine's and birthday cards; on posters, logos, ads, bumper stickers and wrapping papers; and we impose its shape on anything from candies, cakes, balloons, jewelry to buttons, garments, gift boxes, and ...
Designer und Designerinnen verwenden Farben, Schriften, Bilder und andere grafische Elemente, um ... more Designer und Designerinnen verwenden Farben, Schriften, Bilder und andere grafische Elemente, um greifbare, visuelle Gegenstä nde zu entwickeln, die der Kommunikation mit einem bestimmten Publikum dienen sollen. Dieser Prozess beinhaltet in der Regel den Versuch, dieses Publikum zu beeinflussen oder gar zu überreden. Also muss das, was durch das visuelle Material ausgedrückt wird, glaubhaft und überzeugend sein. Es bietet sich von daher an, das Kommunikationsdesign als rhetorische Praxis zu betrachten. Um den heutigen Herausforderungen in Gesellschaft, Technologie und multimedialen Kommunikationsbereichen gerecht werden zu können und um die Komplexitä ten und Limitierungen zu meistern, die der Gestaltung des Kommunikationsprozesses und den daraus resultierenden Produkten zu eigen sind — so die Argumentation einiger Designschaffender —, bedarf das Design nicht nur eines Könnens, sondern auch eines Wissens im Sinne einer wissenschaftlichen Grundlage.
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as all elements contribute to the total communicative effect that is grounded in the culture behind the text. Since influence occurs through the management of visual materials that produce meanings, design objects wield rhetorical force because of the ideas and meanings they support.
as all elements contribute to the total communicative effect that is grounded in the culture behind the text. Since influence occurs through the management of visual materials that produce meanings, design objects wield rhetorical force because of the ideas and meanings they support.