Graphic Design

Machine learning is set to have a profound impact on the graphic design industry in the near future. Despite its proximity, graphic design education and practice are largely sidelined from participating in the highly scientized spheres of computational aesthetics and applied image processing. Within this context, designer Sekyeong Kwon sought to make visible some of the cultural and practical implications of AI-powered design, from a graphic design perspective. The resulting practice-led project, Michael Barnes, falls within the subfield of adversarial design, and seeks to provoke contestation and debate around automation in design. The following short paper briefly sketches out the current graphic design landscape in relation to emerging technologies; outlines Michael Barnes; and explores a number of issues raised by the project including questions around (inter alia) aesthetics, authorship, and representation.

The paper aims to provide insights into the use of semiotic modes used in the shop signs of culinary business in Greece and Cyprus. In this context, we examine, comparatively, culinary shop signs collected from the commercial center of Thessaloniki and Limassol, two European, Mediterranean cities, with a significant gastronomic tradition and a lively city center. These semiotic modes are represented in a sample which is composed of shop signs whose verbal message constitutes verbo-cultural palimpsest or is written in a local dialect, as well as of shop signs which focus on their iconic visual message using intersemiotic translation or visual rhetoric to make their message appealing for the consumers. The main conclusion is that the shop signs under scrutiny seem to be addressed mainly to the native people of the two countries which are considered in the common cultural practice much better consumers than tourists as concerns their culinary habits. The study provides also evidence for the creative use of culinary shop signs in both cities. Intracultural interpretation as well as the design of the verbal element seems to make shop signs more appealing for the consumers.

Thèse de doctorat en histoire de l'art, soutenue le 13 novembre 2020 à l'université Paris Nanterre, sous la direction de Rémi Labrusse et Christian Joschke.

PhD dissertation "Graphic Propaganda : Photomontage in the Visual Culture of the French Left (1925-1939)". Université Paris Nanterre, 2020. Under the supervision of Rémi Labrusse and Christian Joschke.

Cette étude porte sur la place du photomontage dans le graphisme français de l’entre-deux-guerres, plus particulièrement dans la presse illustrée, l’affiche et la propagande politique. Fondé sur la combinaison d’éléments photographiques de façon à créer des images composites, généralement reproduites par impression photomécanique, le photomontage a été promu par les graphistes d’avant-garde mais aussi par les éditeurs de presse à grand tirage. Il devient à partir des années 1920 un élément caractéristique de la culture visuelle moderne, jusqu’à investir très largement les pavillons de l’Exposition internationale de 1937. Si les développements du photomontage en URSS et en Allemagne sont bien connus, la France a souvent été considérée comme réticente à l’usage de ce procédé, privilégiant un modernisme mesuré et un ancrage dans le dessin. En analysant le rôle des réseaux culturels communistes dans le développement du photomontage politique, nous identifions des phénomènes de transferts culturels étroitement liés à la sociabilité militante. L’étude de la production imprimée des organisations de gauche permet d’expliciter les fonctions attribuées à l’image comme moyen d’influence politique. Sur le plan iconographique, les photomontages se caractérisent par des procédés rhétoriques qui orientent la lecture du document photographique. Sur le plan du montage, s’opère une conjonction de temporalités hétérogènes. En prêtant une attention particulière à la fois aux conditions de production, aux réseaux d’acteurs et aux discours de légitimation, nous proposons un essai en iconologie politique qui en même temps se situe au plus près de la matérialité des images.

This study examines the place of photomontage in French graphic design between the two world wars, particularly in the illustrated press, posters and political propaganda. Based on the combination of photographic elements to create composite images, generally reproduced by photomechanical printing, photomontage was promoted by avant-garde graphic designers but also by editors of large-circulation magazines. From the 1920s onwards, it became a characteristic element of modern visual culture, until it was widely used in the pavilions of the 1937 Exposition internationale in Paris. While the developments of photomontage in the USSR and Germany are well known, France was often considered to be reluctant to this technique, favouring instead a measured modernism and drawn illustrations. By analysing the role of communist cultural networks in the development of political photomontage, we identify phenomena of cultural transfer closely related to militant sociability. The study of the printed production of left-wing organisations makes it possible to clarify the functions attributed to the image as a means of political influence. On the iconographic level, photomontages are characterised by rhetorical processes which guide the reading of the photographic document. On the level of montage, they allow for a conjunction of heterogeneous temporalities in a single image. By paying attention to the conditions of production, to the networks of actors and to the discourses of legitimation, this essay in political iconology remains as close as possible to the materiality of images.

Archaic Modernism is the second monographic retrospective dedicated to Christophe Spzajdel. Back in 2018 Szpajdel commissioned Archaeological Records to cure the biography, critic essay and logo selection for his new anthology of logos. Together with the author we decided to narrate his most recent production – the body of work made after the release of the book 'Lord of the Logos' (Gestalten, 2010) – as an evolution of his original Depresiv'Moderne and Winterstijl calligraphic styles in the one named Archaic Modernism. Archaic Modernism is an ideal synthesis of his career as graphic designer.

Wykresy, schematy i diagramy nie są wyłącznie ilustracjami. Jak dowodzi Model i metafora, można je dziś uznać za niezbędne narzędzia ułatwiające tworzenie współczesnej humanistyki. Wykorzystując jednocześnie teksty i obrazy, książka w zwięzły sposób przedstawia szereg zagadnień istotnych dla każdego historyka, socjologa czy badacza literatury. Na Model i metaforę składają się teoretyczne podstawy myślenia obrazem, zarys historycznych relacji słowa i obrazu w humanistyce, a także praktyczne wskazówki dla tych, którzy chcieliby korzystać z obrazów w trakcie planowania i pisania tekstów. Inni czytelnicy mogą traktować tę książkę jak przewodnik, ułatwiający poruszanie się w epoce obrazów.
Jak przystało na książkę o komunikacji wizualnej, Model i metafora jest połączeniem obrazu i tekstu na równych prawach – zawiera ponad 150 rysunków wyjaśniających kwestie, które byłyby trudne do omówienia przy pomocy tekstu.

The increase in pipeline manufacturing for process industries calls automation of welding system (AWS) in tune with today's demand for accuracy in welding, increased productivity with lesser resources and enhanced profit. Manual welding results in more manpower requirement, low productivity, and low weld quality etc. Automatic welding removes all above problems thus making system itself superior to manual welding system. In this paper, automatic welding system is designed and developed for welding of 'V' Groove in Pipes. AWS based on Embedded / Microcontroller with mechanized output control system is developed for Gas Metal Arc Welding (GMAW) technique. Moreover, system is simple and economical.

Armando Testa è il sempiterno fanciullo creatore dei più stravaganti personaggi della pubblicità italiana. Attento osservatore del mondo, tutti i suoi progetti sono frutto di una profonda analisi del circostante e di un divertente lavoro di bricolage che unisce immagini del fantastico, suggestioni attinte dall’arte ed elementi della vita reale.
Ogni suo progetto è un cortocircuito visivo, ed in questo risiede la capacità
di persistere nella memoria di artefatti comunicativi che, con una semplice
grammatica visiva, hanno saputo ricreare l’immaginario collettivo di intere
generazioni.

In modern media products interact essential design patterns that are dependent on the communicative goals and on the typology of the magazine, on the one hand, and - ensure unity of the elements and organic matter of the product. Here may be found to certain relations, formulated as the main compositional design principles, valid in publications of different types, covering all components of the graphics, among them: universality, visual access, aesthetics, usability, modular design, similarity, consistency, constancy, redundancy, economy, simplicity, nearness, visibility, symmetry and asymmetry, balance and rhythm, scale, contrast, hierarchy.

Greetings: The 7th edition of Visual Communication: Images with Messages is available at a drastically reduced price for students and others at $35: http://goo.gl/r53bFs with a color print version available for $100: http://goo.gl/Cqg3hr through Amazon. The fully updated edition includes 739 figures for photographs and illustrations along with weblinks to additional images and videos. If you plan to teach visual communication, visual literacy, and/or media and culture or if you are an interested student or professional, please consider taking advantage of this opportunity. Let me know if you have any questions. All best things, paul _________

The subject and purpose of research in graphic design, or “graphic design research”, is often framed under dominant definitions of “graphic design” within the profession. This is generally defined as “the production of visual solutions to communication problems” (Bennett and Vulpinari 2011) and is closely tied to commissioned-based, mass-produced, or market-based requirements or demands (see Walker 1989, 29), measured and validated through quantifiable outcomes (Bennett 2006, Noble and Bestley 2005, Skaggs 2017, etc.).

However, the larger field of “design research” (Simon 1969, Schön 1983, Cross 2007a, etc.)—where graphic design research could be considered a part of—is moving away from its pragmatic and instrumentalist past towards diversified approaches. This is to search for an epistemological foundation for research rooted in design activity (Glanville 2015, Jonas 2016, Rodgers and Yee 2015, etc.). With this move, the field presents an opportunity to consider alternative forms of graphic design practices that do not reflect the dominant characteristics specified above and are seldom studied in academic literature due to their difficult classification. Specifically, this research posits and examines critical and artistic forms of graphic design practices as “graphic design research”. Provisionally, such practices can be defined as alternative forms of design practice that involves research and critique either towards conventions of the discipline and profession or towards broader cultural or societal issues (Dunne 2008, Laranjo 2017a, Malpass 2017, etc.).

In arguing for critical and artistic graphic design practice’s position and contribution as graphic design research, this dissertation first reviews scholarly literature in “design research” and “graphic design research” to find points of convergences between the two fields. It then surveys a range of academic and para-academic materials (Laranjo 2017a, Bailey 2014, Malpass 2017, etc.) surrounding critical and artistic graphic design practice to theoretically arrive at key characteristics of such practices. Finally, this research identifies the practice of Sulki and Min as one that is critical and artistic and examines it in relation to the findings from the earlier two sections. This is presented as an in-depth case study of their ideas, works, and broader engagements.

Overall, this research presents how critical and artistic graphic design practices can be considered forms of research and contribute to graphic design research discourse, hence arguing for its broader relevance in the discipline.

There are overall values created by every culture over centruies. Values, norms and beliefs, which are described as the culture's "invisible" side, are looming large in the artifacts that are described as the culture's "visible" side. In this article, it is researched that, to which extent "Turkish visiual communication design" is able to create a unique visiual language reflecting the "Turksih Culture", and by considering "visual communication design", as one of the invisible cultural elements, in terms of intercultural visual language differences.
The value of visual communication design is increasing in this visual era we live in. Visual communication design, which has a broad spectrum of printed, animated and interactive products and as an interdiciplinary field, can be used as an important tool of culture conveying. In this context it is discussed in this article that how can we use this power of visual communication design, which is a field that can carry Turkish cultural values and boundless heritage from local to global.

SERGİLEME TASARIMLARINDA TİPOGRAFİ KULLANIMI ÖZ Grafik tasarım alanında etkili sunum olanağı sağlayan sergileme tasarımı, bir fikri, bir kavramı ya da ürünü geniş kitlelere duyurmak ve aktarılmak istenen mesajı yaratıcı uygulamalarla hedef kitlesine iletmektir. Günümüzde bilginin ulaşılabilir hale gelmesi beraberinde karmaşık bilgiyi planlı ve düzenli hale getirme ihtiyacını da artırmaktadır. Bilgi aktarımı ve iletişim açısından sergi mekanlarına ve sergileme tasarımı uygulamalarına her zamankinden daha fazla ihtiyaç duyulmaktadır. Dolayısıyla etkili bir sergileme tasarımı, nesnelerin sunumunun yanı sıra izleyiciyi heyecanlandıran, bilgilendiren, ilgi çekici, yaratıcı ve akılda kalıcı tasarımlarla mümkün olabilir. Sergileme tasarımlarında kullanılan tipografik uygulamalar izleyiciye mesajın içeriğini hızlı ve etkili biçimde anlatılmasına imkan sunar. Bu noktada sergi nesneleri, yapı, zemin, fon, ışık gibi özellikler de mekanın atmosferini etkilemektedir. ABSTRACT The exhibition design, which provides an effective presentation in the field of graphic design, is to announce an idea, a concept or a product to a wide audience and to convey the message to the target audience through creative applications. Nowadays, the availability of information increases the need to make complex information planned and organized. In terms of information transfer and communication, exhibition spaces and exhibition design applications are needed more than ever. Therefore, an effective exhibition design can be made possible by the presentation of the objects as well as by the exciting, informative, interesting, creative and catchy designs. Typographic applications used in exhibition designs allow the audience to quickly and effectively explain the content of the message. At this point, features such as exhibition objects, structure, floor, background, light also affect the atmosphere of the place.

Öz: Bilgi ve iletişim teknolojilerindeki gelişmelerin yaşandığı bilişim çağı ile birlikte bilgisa- yar, bilgisayar ağları ile hücresel (mobil) iletişim teknolojilerinin altyapılarında görülen hızlı ilerlemeler, bireylere sınırsız veri erişimi konusunda imkan sağlamıştır. Bu çağda bilgi akta- rımı, zamandan ve mekandan bağımsız olarak dijital ortamda gerçekleştirilirken; oyunlar, kitap, dergi gibi basılı yayınlar, müziksel yapıtlar, videolar, görseller vb. dijitalleşerek elekt- ronik ortamda kullanıcılara sunulmaktadır. Bu kadar çok enformasyonun yeni teknolojiler (medyalar) aracılığı ile bireylere sunulması ve teknolojinin giderek karmaşık bir hal alması dijital arayüz tasarımlarının kolay anlaşılabilir olmasını gerektirmiştir. Bu nedenle dijital or- tamlardaki arayüz tasarımlarında kullanıcıların kolay algılayabileceği mimetik bir tasarım anlayışından bir başka deyişle “skemorfik tasarım anlayışı”ndan söz edilmeye başlanmıştır. Bu çalışma ile skemorfik tasarım anlayışının dijital arayüz tasarımlarında kullanıcılara nasıl sunulduğu ele alınarak, olumlu ve olumsuz yönleri üzerinde durulacaktır.
Anahtar Sözcükler: Skemorfizm, Skemorf, Dijital Ortam, Kullanıcı Arayüz Tasarımı.

Abstract: With the computer age, many developments in information and communication technologies have been witnessed; particularly, thanks to fast developments in computer, computer network and cellular communication technologies, today individuals can get access to limitless data. Today, while information transfer is done in digital media non- spatially and independent of time, games, printed materials such as books and magazines, musical compositions, videos, visuals etc. have been digitalized and are at users’ disposal.

The fact that this much information is accessible through innovative media and that tech- nology is becoming more and more complicated makes skeuomorphic it essential that digital interface designs be simple enough to be understood by users. Therefore, a mimetic design approach, which can easily be grasped and controlled by users, is applied in the design of interfaces in digital media. This study deals with positive and negative aspects of skeuomorphic design approach and how this approach is presented to users.
Keywords: Skeuomorphism, Skeuomorph, Digital Media, User Interface Design.

In a college course about designing visual media such as photography and desktop publishing, it was found that there is a great need to develop a method for raising printing quality; this method should meet the demand of evaluating the student's performance and comprehension after each step in the course plan. This need came from the knowledge of the nature of Lithography Printing as a subject that employs more than color quality or image perception, student are asked to perform the practice of applying the theoretical terms of elements of quality control (dot gain, line sharpness, bleeding, color ink coverage, and etc.) into the technique of using these elements in relation to each other and combining them into meaningful wholes through designs that will apply visual design principles (such as balance, emphasis, contrast, and movement) considering certain criteria such as effective color combination, type style and attention-getting visuals, in these designs which will be addre...

Creative Jolt Inspirations, which can stand alone or complement Creative Jolt, is a visual idea sourcebook – pure stimulation for the creative mind, similar to a big visual flea market for designers to peruse. Most designers keep a scrapbook of visual ideas at hand to inspire them when they're stuck; this book is for designers who don't have time to compile one on their own, or for the designer who wants a head start on developing their own idea file. Visuals include color palettes, sketches, patterns, and photos of architectural details - an array of visuals that will help get ideas flowing. This book is an excellent resource for designers of all skill levels.

One of the most demanding and intriguing duties of the art of graphic design is the promotion of not only archaeological artifacts but scientific texts, as well. The skills and cognitive dexterities of the stakeholders involved in these projects exceed by far the common process of graphic designing. A most essential prerequisite is the experience which is based on a deep insight of Typography, Photography, Color Management, Graphic Design, good aesthetics, history and the perception to distinguish and pinpoint the unique artistic value of each and every artifact. So far, the study of archaeological artifacts appeared to be the exclusive right solely of archaeologists, but it is of utter importance that graphic designers, illustrators and photographers follow suit, since the promotion and the design process of a book or an application, is their field of study, as well. The entire process presupposes the ability to combine and unify modern typography, design elements, high quality photographs with newly-discovered artifacts that carry thousands of years of history. The daily process and collaboration with archaeologists is of most vital in order for the project to be successful. The parameters to be considered for just a single artifact, or a brief scientific paper referring to a brief historical period or a timeline are countless, some of which being the historical era, the civilization, the script style, language, religion, religious references and the like.

Ilica za uvijek Sredinom 2013. na ulicama Zagreba počele su se pojavljivati nove ploče s nazivima ulica i kućnim brojevima. Kao i u slučaju nogometa ili politike, sva-ko je tad iznenada postao stručnjak za tipografiju i signali-zaciju i smatrao da ima što reći o tom projektu, pa smo tako u medijima slušali i čitali razne književnike, povjesničare, jezikoslovce, kolumiste i opinion-makere kako iznose svoje stručne stavove o tome što im se u tom rješenju sviđa ili, još češće, ne sviđa. Tako je i poetski razbarušeni novinski kolumnist samouvjereno, kako to sa slavnim piscima često biva, ustvrdio da su: nove ploče, a naročito brojke na njima, nepregledne, izrazito loše dizajniranog fonta (oblika i vrste slova, ako tko ne zna što je font). U povijesti Zagreba nije bilo nečitljivijih. Pritom je prozvao i Hrvatsko dizajnersko društvo da se nije pobunilo, a loš bi ih se dizajn, valjda, trebao ticati. Ako preskočimo činjenicu da je iz teksta vidljivo da ni sam pisac u stvari ne zna baš točno što je font, nego se oslanja na kolokvijalnu upotrebu pojma, nejasno je kojim se kriterijima, osim osobnog ukusa, u svojoj ocjeni vodio.

ISBN: 978·88·99586·15·7 - La complessa storia dell’ambiente della cucina, oggetto di una recente e significativa convergenza di interessi bibliografici, se analizzata tanto nella sua globalità che nelle sue declinazioni specifiche, riceve dagli Stati Uniti, nazione certamente non famosa per la propria tradizione gastronomica, un contributo intrascurabile, in cui un ruolo determinante viene giocato dall’illustrazione, maggiormente intesa nella sua accezione artistica, grafica e pubblicitaria.
Si assiste negli Stati Uniti ad uno spartiacque, determinato dallo scoppio della Guerra, tra la concezione dell’illustrazione prima del conflitto Mondiale e quella successiva ad esso.
La fuoriuscita dalla Depressione e la persistenza di certi modelli puritani di matrice anglosassone vengono progressivamente sostituiti da un nuovo modello sociale ben definito, che sarà determinante nell’affermazione del successo americano nelle vicende belliche. In particolare il progressivo superamento delle differenze di genere costituirà un punto cruciale, chiave di completamento di un successo basato, oltre che sulla forza, anche sul convincimento.
Con la chiusura del conflitto, l’egemonia dell’influenza statunitense a tutto il blocco occidentale europeo (corroborata dal Piano Marshall) e la guerra fredda chiariscono e mettono maggiormente a fuoco questo ultimo punto: il modello capitalistico viaggia anche attraverso gli strumenti della divulgazione delle immagini e in questo ambito l’illustrazione, mercé il proprio ruolo esplicativo e pedagogico, costituisce un irrinunciabile strumento.
Metodologicamente il paper rinuncia espressamente ad un’analisi improntata esclusivamente sulla psicologia della comunicazione, senza dunque entrare nel merito dell’ingannevolezza delle illustrazioni proposte (che è peraltro assai evidente in sé), quanto piuttosto vuole rintracciare alcuni elementi comunicativi e narrativi, tipici della cultura americana, che riconducono l’immagine a un modello sociale e alla sua condivisione, verso l’affermazione dell’ideale democratico statunitense, del ruolo di garante della pace universale e civilizzatore assunto dalla nazione.
Attraverso l’analisi di illustrazioni pubblicitarie, la loro comparazione a modelli contemporanei o artistici (realismo e pop-art), e l’ascendenza dei nuovi media (tv, cinema e comics) al modello illustrativo, si vuole dimostrare come il modello sociale ad esse sotteso, trova nel mondo della cucina uno snodo cruciale in cui far convergere questioni sociali, di genere ed economiche. Un ruolo che assume in sé aspetti criticabili, ma anche forieri di nuovi slanci vitali, dal momento che persino il boom italiano gliene sarà debitore.

hograph Η 1997 δραστ ηρι οποι εί ται από το στ η παραγ ωγή ψηφι ακ ών εκτυπώσε ων και δι αφημι στι κών. κατασκευών Ψηφι ακές εκτυπώσει ς μεγάλου μεγέθους, Σήματ α, , , , , Πι νακί δες Επι γραφές Χαράξει ς Σφραγί δες , , , Εκτυπώσει ς σε ενδύματα Δι αφημι στι κά δώρα Επαγγελματι κές κάρτες Δι αφημι στι κά φυλλάδι α, εί ναι μερι κά απ τα. προι όντα που σας παρέχουμε , , Δι αθέτουμε σύγχρονο εξοπλι σμό μεγάλο εύρος εργασι ών υψηλή ποι ότητα ,. προϊ όντ ων και υπηρε σι ών ευελι ξί α στ ο κόστος και την ποσότητα : Αναλυτικά σας παρέχουμε • ΤΥΠΟΓΡΑΦΙΚΕΣ ΕΡΓΑΣΙΕΣ Υ πηρεσί ες σχεδί ασης και παραγ ωγής εντύπων Τ α Έντυπα β οηθούν κάθε ε πι χεί ρηση τόσο σε οργαν ωτι κό ε πί πεδο. όσο και δι αφημι στι κό γι α την καλύτερη προ ώθηση τ ων προϊ όντ ων και υπηρε σι ών της Σ την hograph αναλαμβ άνουμε τον σχεδιασμό όσο και την εκτύπωση εντύπων με σύγχρονα μηχανήματ α. παραγ ωγής Σ τόχος μας εί ναι να δημι ουργούμε γι α εσάς , flyer, , δι αφημι στι κά φυλλάδι α μπροσούρες και άλλα εί δη εντύπων όπως επιστολόχαρτα, , , συντ αγολό γι α μπλοκ σημει ώσεω ν

Se indaga el sentido de la conferencia de Sloterdijk
“Normas para el Parque humano” así como las
polémicas por ella suscitada. Se realiza un diagnóstico
de la capacidad crítica del humanismo tradicional. En el
marco del naufragio del humanismo como escuela y
utopía domesticadora humana -marco en el que
Sloterdijk reclama una revisión genético-técnica de la
humanidad- se indaga ¿qué criterios pueden
establecerse para normar las inevitables luchas por los
derechos de la crianza humana? ¿Quiénes y sobre qué
bases debieran hoy detentar el derecho a la crianza?
¿Cómo determinar quiénes son los que educan y los que
son educados? Se proponen nuevos caminos que
tienen en la mediación de la técnica su formulación
discursiva y sus orígenes en las disidencias que, desde
la propia tradición filosófica, reducían la estancia del
hombre en el mundo a su expresión leída y escrita.

http://hargawallpapermurah.com/ - Pusat Toko jual wallpaper dan jasa pemasangan wallpaper dinding berkualitas harga murah alamat: Jalan raya pasar kemis ruko sentral niaga no.14 depan pabrik keramik ikad Tangerang,Banten,15138 - Phone ( 021 ) 55658427 - 28 - 081384252518

La capacitat de les dades de transformar els nostres paisatges gràfics quotidians té uns precedents que van més enllà del nostre passat més immediat. Tot i que actualment es troben en l’epicentre de la gran majoria de contextos acadèmics, àmbits de negocis, conferències i exposicions, cal remarcar que l’entorn humà ha estat envoltat de dades des de fa segles. La invenció i evolució de les tecnologies informàtiques ha permès que els usos i les capacitats prospectives d’aquestes dades hagi augmentat exponencialment durant els inicis del segle XXI, gràcies també a la capacitat dels dispositius mòbils de generar i assimilar totes les dades que les societats informatitzades són capaces de generar en espais de temps molt breus.
Així doncs, aquest estudi versa sobre la capacitat de representació
gràfica que el Big Data està generant, a través d’infografies i visualitzacions de dades en el nostre paisatge visual quotidià, centrant els esforços en analitzar aquestes dues estructures gràfiques i el paper que desenvolupen i poden arribar a desenvolupar en la societat, a través de reflexions des de la mirada crítica del disseny.

RESUMO Este artigo trata das possibilidades de personalização características das tecnologias digitais, que se estendem aos livros, cujo projeto gráfico pode, muitas vezes, ser alterado pelos usuários. As questões que encaminham o texto dizem respeito à relação dos leitores com os livros digitais, com ênfase no uso, das possibilidades de customização dos livros digitais. Para abordar o tema, partimos de uma revisão bibliográfica sobre o design editorial, após a qual apresentamos os resultados de uma pesquisa junto a leitores, realizada através de questionários online. O texto termina com uma reflexão sobre o papel do designer frente às possibilidades de customização do livro digital. Palavras-chave: "design editorial", "e-book" e "tablets". INTRODUÇÃO Ao longo dos séculos que compõem a história do livro, diversos padrões de composição legitimaram-se e passaram a ser considerados sinônimos de conforto e eficácia de leitura ao usuário-bem como da capacida...

A new multidisciplinary design and entrepreneurship course is being offered at Bilkent University. The course entitled "Innovative Product Design and Development I-II" is open to senior students of six different departments. It is a two-semester course that brings together students from Departments of Computer Engineering, Economics, Electrical Engineering, Graphic Design, Industrial Engineering, and Management. A team of six professors, one