A Study on Emotional Visualization of Dynamic Information

2017

In the last decade, infographic becomes a popular method to visualisation data and deliver information to an audience with a lot of advantages claimed related to the technique of present the data with the beautiful presentation. In this paper, we discuss why people use the infographic, the benefits of the infographic as tools for convey information, and the main problem that exist in developing the infographic. Furthermore, we also investigate the technique of evaluating the infographic and suggest the recommendation for improving the quality of the infographic in the future.

Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems

Communicating the right affect, a feeling, experience or emotion, is critical in creating engaging visual communication. We carried out three studies examining how different color properties (lightness, chroma and hue) and different palette properties (combinations and distribution of colors) contribute to different affective interpretations in information visualization where the numbers of colors is typically smaller than the rich palettes used in design. Our results show how color and palette properties can be manipulated to achieve affective expressiveness even in the small sets of colors used for data encoding in information visualization.

Human-Computer Interaction. Design and User Experience, 2020

As ubiquitous sensing becomes embedded in our everyday world, we can easily obtain multimodal sensor data from our physical surroundings. Objectivity is a core value in the visualization research community. However, personal experiences are characterized not only by objective facts, but by personal emotions. In this paper, we explore immersive data visualization for conveying personal subjective perception and experience by using multidimensional data and multimedia. We introduce a framework to describe narrative structures in immersive data visualization, and provide an example project Baguamarsh as a proof of theme-based creative methods for designing correlations between different information. We hope this study may offer outline opportunities for future research in narrative visualization.

Bhoomi Publishing, 2025

Mapping data onto aesthetics refers to how we visually encode data using different levels of representation in charts or graphics. Such visible properties (aesthetics) would better show the patterns, relationships, and insights available. Limited Key aesthetic mappings include position, color, size, shape, and transparency. Data visualization is the process of taking raw data and systematically and logically converting them into visual elements that comprise the final graphic. From that perspective, these variants may look completely different; for example, when viewing a scatter plot, pie chart, and heatmap, one might think these visualizations have no similarities. However, all data visualizations can be described through a common language: a description of how the data values are "mapped" onto graphics which are usually rendered with ink on paper or colored pixels on the screen. The vital thought that should strike one is this: All data visualizations map data values into measurable attributes of the graphic produced. ISBN: 978-93-48620-52-1

2010

The objective of this paper is to defend and to justify the relevance of the fundamentals of the visual language to composition of infographics. It is considered as basic elements of infographic: points, lines, planes and spots, and they are the same ones that characterize the composition and visual communication from prehistory. These same elements make up the expressiveness of designs and Design products. In the text, reflections are presented about Form’s Theory and Visual Language, based on Lupton and Phillips, Dondis and Perassi. Besides the presentation of concepts, historical datas and discussions on infographics, based on Ribeiro, Rossi and others authors.

Brazilian Journal of Science, 2023

The purpose of the current study is to address a research question about the role that visual design elements have in communication. The data were collected based on their technical relevance, which highlights the general description of the field of research that includes graphics, infographics in the field of communication, and elements of visual design Review of the relevant literature and concepts: To begin with, we must consider the communication aspects of the design in order to produce truly successful visual design elements. The communicative dimension of graphic design elements such as infographics are invaluable in conveying information in a clear and engaging way. Two opened the way for the expansion of the use of visual elements in the manufacture of the media message. This study discusses the communicative dimensions of visual design elements, in general, and infographics in particular, as infographic is part of information visualization. This study discusses the communicative dimensions of visual design elements, in general, and infographics in particular, as Infographic is part of information visualization, in addition to that it is a research field related to communication as it focuses on patterns and trends in abstract data sets, and the field of infographic design, and information visualization combines the concepts of computer science, data mining, cognitive sciences and graphic design, this is important in controlling and measuring the quality of communication because the ability to collect, store and manage data, despite the increasing pace of its updating, remains our ability On their understanding relatively constant. The size, shape, and color of visual design elements can also play a role in communication. According to the results obtained, it was determined that the use of graphs as a visual communication tool was effective in evaluation, understanding and continuity.

Information Visualization (IV) is a current field that has the potential to develop methods of accessing, processing and managing of information (Chen & Czerwinski, 2000). IV applications are developed as a learning tool due to the technique of IV being capable of improving the understanding process through the use of visuals. In addition, IV applications are also able to manage the several data sources and complex concepts in learning activities. IV techniques are useful for information acquisition and learning activities. Based on the theory of visual perception, this study produces a design of IV application. The design supports a particular understanding of the visual accordance with data of the hadith environment. Balance to the visual design can build a good human perceptual system to understand the concepts and interpret information more easily and accurately. The findings of the study show the good interpretation and the high score of respondents’ achievement toward using the application. This result indicates that the contribution of visual perception theory as the design of the IV application can create a better visual perception and enhance the quality and quantity of the information.

Journal of Design Research, 2002

In this paper, I independently build on an earlier collaborative effort with Dr. Cynthia Breazeal (MIT Media Lab) to integrate social and cultural theory and applied graphic design theory and practice into the participatory design process of a socially intelligent robot prototype called Kismet. My objective is to explore the feasibility of facilitating audience interaction in the graphic design process of this robot prototype-potentially a mass-produced consumer product-through the appropriation of a simple, communication convention: an email message. Steinhauer's (2000) Interactive Aesthetics (IA) is applied with the creation and distribution of an electronic survey that informs the target mass audience of an interdisciplinary design project underway and canvasses responses from the members of the mass audience regarding the aesthetic design of Kismet the robot prototype. The empirical results this paper reports supports the author's hypothesis that graphic design conventions, techniques, and strategies can facilitate interaction between the target mass audience (especially the global mass audience) and other professional participants in a participatory design process. However, further analysis of these results uncovers a need for a differentiation between static and dynamic communication artifacts. While Interactive Aesthetics works for static two-dimensional communication artifacts, an integration of a more dynamic interactivity is necessary in a participatory design process that involves a communication artifact like a threedimensional robot prototype, which has the ability to display non-verbal communication-fluid emotive facial expressions-when it communicates with another human being in a given public space. Most communication frameworks assume that emotional expression should be understood in terms of the exchange of socially assigned 4 "happiness" parameter) the target user(s) can generate a customer-specific (or culturespecific) affective interface. By offering users a series of such expressive parameters, professional designers can collaborate with a target audience to create an affective synthetic interface that responds to a wide variety of aesthetic and functional needs.

The 8th international Scientific Conference, 2022

Infographics have become common, especially with technological developments in the last decade, where the available data has become more accessible and needs to be visually organized through these charts. To find a relationship between text and image to the delivery of information within the space of contemporary arts through the relationship between the recipient and the artist and uploading the data, whether in a readable, audible, or even visual form. A method that the researcher relies on to link in a systematic way related to downloading and analyzing data within the artwork, and the researcher referred to the studies associated with sensory receptors and their role in perceiving the Artwork and their interaction with it through the physiology of vision and its role and linking it to the human brain engine, as well as the meeting point between each of the arts Contemporary and data that the artist seeks to enter through contemporary arts .

ГРААЛЬ НАУКИ, 2021

Environmental problems of a global nature, particularly, the total environmental pollution, natural resources' destruction, and as a result, the decline in the human life quality, pose new challenges to design. Therefore, designers are looking for new cross-disciplinary approaches to design, like a synergistic relationship between green chemistry and art (Marteel-Parrish & Heather, 2019). All life spheres have an ecological orientation in the Age of the Anthropocene. It is important to rethink the values system, thinking and people's attitude to the natural environment through the interaction between art and nature (Cartiere & Wingate, 2019). So, there is no doubt that strategies of use of environmental art (Perovich, 2018), Ambient Media and "green marketing" in advertising as the most common means of mass communication, are relevant nowadays (Taufique, 2020). Visual communication objects that unobtrusively connect nature and society are powerful information sources (Hidrėlėy, 2020). We can improve the visual messages effectiveness due to the use of an eco-component that adds dynamism to the image. It indicates the need to apply a systematic approach to their research and design. The problem of designing of dynamic visual communications, which are based on harmonious interaction with the environment, is the subject of this study. Visual communications with eco-elements demonstrate the role of the environment, which acts as a condition for the emergence, formation and functioning of design systems. We observe the complexity of the design system structural organization by environment elements involving, including plants, land, objects of human activities, etc. in the outdoor advertising design. The development of modern visual communication systems depends on strengthening the interaction with the environment. Nowadays, innovative visual communications objects of environmentallyoriented street art are becoming popular. They are actively involved in the overall forming the principles of environmental ethics. Creation of various graphic images with moss as natural material is a method of their design. Moss Graffiti or Green