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¶ … cross-cultural psychology can easily be applied to the field of graphic design. In fact, graphic designers can greatly improve their practice by incorporating cross-cultural psychology into their framework and philosophy. Aesthetics and design principles are culturally embedded. Likewise, the role and function of graphic design varies depending on cultural context. Norms, superstitions, and traditions all guide the way consumers will react to a graphic design product or image. Therefore, it is critical that at the organizational level, companies understand how to harmonize their graphic design departments with the principles of cross-cultural psychology. What works in one cultural context may not work at all in another, and might even offend somewhere else. In a globalized marketplace, the integration of graphic design with cross-cultural psychology becomes a business imperative.
Graphic designers need to take into account the psychological impact their work will have on an audience. Moreover, designers need to take into account linguistic differences and different perceptions of aesthetic value when working on projects in different countries. The direction in which a language is read and written can also affect...
The principles of cognitive science can show how individuals may perceive messages differently depending on how images and words are ordered and arranged.
Cross-cultural psychology principles encourage a graphic designer to think differently about each project, to break free of cognitive biases that limit one's understanding of aesthetics, form, function, color, and any other element inherent to the design process. The principles of cross-cultural psychology encourage the designer to think more critically about the design process, keeping in mind the needs of the consumer or end user. All design is located in its cultural context, and when designing for diverse audiences, it is important to create designs that transcend culture and become universally recognizable and have universal appeal.
On a practical, day-to-day work level, the principles of cross-cultural psychology help a graphic designer function highly as part of a design team. Most organizations will be diverse, their staff comprised of individuals from different backgrounds. Possessing cultural literacy will help the individual to interact with people from different backgrounds with respect. A design team will thrive and be more effective if it is diverse, as each person will bring to the design table his or her aesthetic values, work ethic, and design principles. Cross-cultural psychology shows that there are few universals…
References
Tversky, B., Kugelmass, S. & Winter, A. (1991). Cross-cultural and developmental trends in graphic productions. Cognitive Psychology 23(4): 515-557.
Graphic Design The objective of this work is to examine the knowledge needed by the graphic designer both historically and in today's modern world. Swanson (2010) writes in the work entitled "Graphic Design Education as a Liberal Art: Design and Knowledge in the University and the 'Real World'" states "Though hardly homogeneous, the vast majority of graphic design programs, whether in vocational schools, art schools, or universities, are, at least in concept,
H1base.com/). The U.S. Government offers the H1B visa to enable highly skilled International Workers and International Students, from all over the World, or already in the U.S.A., the opportunity to legally live and work in America." The process of obtaining one of the H1B visas involves many steps (H1B Program (http://www.h1base.com/). A to obtain an H1B visa, an applicant must 'first' find an H1B job with an H1B visa employer company in the
The text that the scribe had to deal with was meant to transmit ideas and feelings, but the most important thing were the ideas. Nowadays, the role of the graphic designer is to produce an emotion which is strong enough in order to make the idea even stronger. People who, in the Medieval times had contact with a text "produced" by a scribe were supposed to learn. The "text"
At this level, focus should be on meeting the needs of the graphic design industry. It is at the graduate level where intense discussion of theory should be developed. I agree with Frascara on this point. In most disciplines, such discussion is typically conducted at the graduate level. The average graphic design student can benefit from this work where applicable, especially if Frascara's proposed reference centers are created. One of
Graphic Design Project PACHA The shape of this design is irregular albeit the height and width are remarkably similar. The design uses bright colors -- notably red, yellow, several shades of blue and white as well -- and its texture has layers of shapes and colors. The feel of the design is ethereal, like it is floating in space. It has the texture and value that gives the impression of three dimensional.
Ongoing turmoil actually led to the eventual development of a wide variety of distinctly Mexican typefaces and other graphic features, many of them collected and/or created by Ignacio Cumplido. This graphic designer (before the term had been coined) and printer created graphics and fonts that were at once bold and striking yet exceedingly simplistic and direct, providing hundreds of different varieties and endless combinations for use on posters and pamphlets