Graphic Icons. Symbols of Authority and Control

SSRN Electronic Journal, 2017

The four simplest neume-like symbols are still used in Catholic liturgical books.

2023

The creative professional activity of graphic designers usually involves the creation of design objects that visualize information with the aim of its subsequent public distribution. In connection with this, the task arisesto form a clear position for future graphic designers during their training in higher education institutions regarding the observance of copyright and related rights (Ridgley et al., 2020). Future graphic designers must not only respect copyright when using visual elements but also understand the mechanisms of copyright protection for their works. Considering the thesis that it is impossible to create new unique things in the modern world since we all exist in a single world, are under social influences, and when creating subjective or partially new objects, the graphic designer uses sources of inspiration as starting points in the generation of ideas, synthesis of visual elements, it is essential to pay attention to the integrity of their use and take responsibility for the design result. In the same way, both customers of design objects and representatives of businesses that use the projects for profit should be responsible. Results. The task set before teachers of higher education institutions regarding the purposeful formation of students' ethical and legal attitudes to the use of visual elements in project activities can be solved in different ways (Borysova, 2023; Halak & El-Hajjar, 2019). It should be noted that among them, the discussion of simulated and real situations, taking into account certain aspects of integrity during practical classes in specialized disciplines and

1994

A study used semiotics to examine the graphic elements within corporate trademarks. The trademarks from 247 "Fortune" 500 corporations were placed into 86 different categories of graphic elements intended to connote 14 different qualities. Subjects, 40 college students and 61 business professionals, evaluated 9 sets of 12 trademarks in terms of their intended meanings. Results indicated that in seven of the nine cases, the trademarks did connote their intended meanings. Findings suggest support for the premise that there are semantic meanings to visual phonemes. Findings also bolster the idea that the image is a valid design for communication studies. (Contains 39 references and 1 table of data.) (RS)

Visible Language, 2013

Despite the fact that icons are widely relied upon for communication, designers have few principles to guide icon design. This paper reports a study of the role individual symbols play on the construction of meaning from icons. An experiment compared two sets of four icons, each made of a different set of discrete symbols. It finds that the interaction of the right number of symbols for the referent, and a more apt combination of individual symbols for the referent, can significantly improve the construction of an icon that communicates what was intended. The rules of thumb pro- posed here are applicable to construction of any visual communication that uses symbols.

Visible Language

Numerous studies support the thesis that icons frequently fail to communicate because designers have not appreciated that icons combine multiple symbols which interact to evoke meaning. Because symbols interact, a designer must know which symbols to combine and how to draw each symbol so that icons communicate clearly. This article brings together numerous research studies that explored new methods for designing icons based on the interaction of symbols.

The purpose of this paper is to present the importance of graphics to design a logo. The same time, is about the use of a lot of symbols to create logos. The management of both, namely colour and design, is very important in this field. The element called symbol is presented in a few situations, in different graphic representations, for which we tried to explain its meaning. In this study we have tried to answer to a simple question: How to use symbols to design interesting logos? The symbols are very important to define a graphic representation and in this paper we have developed aspects concerning this matter. As it is known in this area of design, it is difficult to achieve a method for all kind of logos. But in our study concerning thousands of examples, we tried to establish a set of rules useful to design logos as powerful and efficient graphic representation. All this work could be called the language of logo design.

Slightly edited version of my PhD thesis July 1999/awarded December 1999.

2006

User interface designers still have to rely on personal creativity and skill when designing computer icons for program functions that have no existing conventional representation. Further, designers often stumble upon usable icons by trial and error. We designed an Icon Intuitiveness Test to gain better insight into how users interpret icons. Our hypothesis was that users would interpret icons they do not know the functionality of as iconic signs 1 by assuming that the icon looks like the functionality it represents. Our study suggests that participants do indeed base their guesses on the visual clues they can see and interpret the unknown icon as having the functionality they think it resembles.

Computers in The Schools, 1997

Over ten years ago, Computers in the Schools published our first review of Logo research. In this article, we examine the research, emphasizing that conducted since our earlier review, and asking which conclusions have been borne out, which must be modified, and which are new. The research corpus is sufficiently large that we focus on selected topics, including mathematics, higher-order thinking, creativity, language arts, and social-emotional development. We will also discuss future directions of Logo research and new versions of Logo in an attempt to answer the question: Where do we go from here? DOUGLAS H. CLEMENTS is Professor and Project

2015

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