Search

[ES] Desarrollo de la identidad visual y dirección artística de una firma editorial basada en la colección `Mañana¿, que surgió en Valencia entre 1932 y 1934. La propuesta está enfocada en promover voces alternativas de la literatura y ensayística contemporánea, incluyendo los volúmenes publicados por la colección durante su breve actividad. Mediante la realización del branding y su manual de estilo, ¿línea de colecciones, esquemas compositivos, enfoque gráfico¿¿ se establecerán todas las directrices visuales y comunicativas para su adecuación corporativa. Asimismo, la firma pretende dar continuidad al impulso sociocultural iniciado por la colección anterior y desarrollarse con modelos de producción sostenibles., [EN] Development of the visual identity and art direction of a publishing firm based on the 'Mañana' collection, which emerged in Valencia between 1932 and 1934. The proposal is focused on promoting alternative voices of contemporary literature and essays, including the volumes published by the collection during its brief activity. By means of the branding and its style manual, ¿line of collections, compositional schemes, graphic approach...¿ all the visual and communicative guidelines for its corporate adequacy will be established. Likewise, the firm intends to pursue the active social and cultural impulse initiated by the previous collection as well as to develop sustainable production models.

Digital, Este proyecto de investigación se situó en la ciudad de Bucaramanga/Santander, en el año 2022. Todo inicia a partir del semillero Bitácora de la Universidad de Santander UDES, conformado por estudiantes de la Tecnología en Comunicación Gráfica y Diseño Gráfico Publicitario, en el cual se plantean 3 problemáticas sociales y 3 actividades artísticas y en base a estas, se establece la creación de un fanzine o novela gráfica. En este proyecto de investigación se plantea la creación de un manual de estilos, destinada a aquellos estudiantes que deseen participar en la construcción de la novela en el programa de edición, la marca de la novela gráfica y la portada de esta misma. En primera instancia se reúne la información que se había recolectado previamente por los integrantes del semillero a través de entrevistas a conocedores del tema y adicional se asiste a talleres de creación de personajes, de esta forma, relacionarse más con el proyecto, la temática y el semillero de investigación. Posteriormente se organiza la información a través de moodboards, con el fin de tener el punto de partida de la construcción de la historia. Posteriormente se construye el manual de estilos, la marca y la portada. Finalmente se realizan prototipos que permitan establecer el mejor material para la impresión y el tamaño tanto del manual como de la novela gráfica., This research project was located in the city of Bucaramanga/Santander, in the year 2022. Everything starts from the research group called Bitácora of the Universidad de Santander UDES, made up of students of Tecnología en Comunicación gráfica and Diseño gráfico publicitario, in which 3 social problems and 3 artistic activities are raised and based on these, the creation of a fanzine or graphic novel is established. In this research project, the creation of a style guide is proposed, intended for those students who wish to participate in the construction of the novel in the editing program, the brand of the graphic novel and its cover. In the first instance, the information that had previously been collected by the members of the research group is gathered through interviews with experts on the subject and, additionally, they attend character creation workshops, in this way, to relate more to the project, the theme and the research hotbed. Subsequently, the information is organized through moodboards, in order to have the starting point for the construction of the story. Subsequently, the style guide, the brand and the cover are built. Finally, prototypes are made to establish the best material for printing and the size of both the manual and the graphic novel., Pregrado, Tecnólogo en Diseño Gráfico Publicitario, Introducción 16 Planteamiento del Problema 18 Objetivos 21 Objetivo General 21 Objetivos Específicos 21 Justificación 22 Marco Referencial 24 Marco Conceptual 24 El Fanzine 24 La Portada 24 Semiótica de la Imagen 25 La Semiótica.. 25 La Imagen 25 La semiótica y la Imagen 26 La Construcción de una Novela Gráfica 26 La Viñeta. 27 El Encuadre 27 Recursos Cinéticos 29 Recursos Fonéticos. 29 La Metáfora Visual. 29 Marco Teórico 29 La Diagramación 29 Las Columnas 30 La Retícula 30 Marco Legal 30 Estado del Arte 32 Libro Ilustrado Sobre la Vida y Obra del Diseñador Gráfico Héctor Fernando Carillo para Visibilizar su Trabajo en la Región 32 La Narrativa Mediada por el Uso de Recursos Digitales como Estrategia para Mejorar el Interés en la Lectura de los Estudiantes de Grado Décimo 33 La Narración Gráfica como Estrategia Didáctica en la Enseñanza de la Educación Artística en la Escuela Secundaria 34 Metodología 36 Desarrollo de los Objetivos 38 Información y Talleres 38 Construcción de la Historia 43 Organización de la Información 43 Concepto 46 Construcción de la Imagen 49 Bocetación 49 Selección de Tipografía 53 Proceso Editorial 54 Construcción de la Portada 55 Resultados y Discusión 59 Conclusiones 62 Referencias Bibliográficas 63 Apéndices 66

Unsupervised cross-domain image-to-image translation is a very active topic in computer vision and graphics. This task has two challenges: 1) lack of paired training data and 2) numerous possible outputs from a single image. The existing methods rely on either paired data or perform one-to-one translation. A novel Multi-Style Unsupervised image synthesis model using Generative Adversarial Nets (MSU-GAN) is proposed in this paper to overcome these disadvantages. Firstly, the encoder-decoder structure is used to map the image to domain-shared content features space and domain-specific style features space. Secondly, to translate an image into another domain, the content code and the style code are combined to synthesize the resulting image. Finally, the bidirectional cycle-consistency loss is used for the unpaired training data; the inter-domain adversarial loss and the reconstruction loss are used to ensure the output image’s realism. Simultaneously, MSU-GAN is able to synthesize multi-style images due to disentangled representation. A Multi-Style Unsupervised Feature-Wise image synthesis model using Generative Adversarial Nets (MSU-FW-GAN) based on the MSU-GAN is proposed for the shape variation tasks. There are two different testing strategies, which include random style transfer and style guide transfer. For objective comparison, the proposed model performs well on all evaluation metrics. The random style transfer experiment results show that compared with CycleGAN on the photo2portraits dataset, MSU-FW-GAN FID, IS scores dropped by 12.77% and 8.06%. For the summer2winter dataset, MSU-GAN FID and IS scores increased by 24.51% and 3.64%. Qualitative results show that without paired training data, MSU-GAN and MSU-FW-GAN can synthesize multi-style and better realistic images on various tasks.

In a continuing effort to provide innovative formats of presenting medical information in a digestible and comprehensive manner, infographics were created and included in select standard letters created by the Medical Information team. Qualitative and quantitative feedback on the ease of comprehension, flow, layout, and value of infographics within Standard Response Documents (SRDs) was obtained from healthcare professionals (HCPs). A qualitative survey (n = 47) was conducted to assess the ease of comprehension and effectiveness of infographics. The qualitative market research consisted of 25 individual 60-min phone interviews with HCPs focused around two SRDs. It was found that 87% (n = 41) of respondents agreed or strongly agreed that the infographic was easy to comprehend. Additionally, 85% (n = 40) of the respondents agreed or strongly agreed that the infographic was useful in answering their product question. It was found that most HCPs (20/25) appreciated the presentation of the infographics and found them visually appealing. Additionally, most agreed that the infographic provided content that was sufficient in addressing their product inquiries and impactful for clinical decision making. Infographics have proved to be a valuable resource within response letters to address HCP inquiries and provide an option to pharmaceutical companies to evolve the way medical information is presented.

This paper describes the guidelines for writing effective manuscript that complies with general scientific writing style and in particular with those that are incorporated by the editors and reviewers of the Global Clinical Engineering Journal (www.GlobalCE.org) when they evaluate submission of manuscripts. Readers of this paper will gain understandings of the manuscript preferred writing format and of the submission’s individual sections. Examples are provided for each of individual sections that further explain their purpose and contrast of their various styles. When the guidance provided in this paper is incorporated into a new submission, it is expected to elevate the quality of the writing as well as the desire of young clinical engineers to publish about their work and the interest of the scientific community to read it.

[ES] El objetivo principal de este proyecto ha sido el de desarrollar un manual de identidad visual corporativa para la ONG Eucrante (Gandía, Valencia), y una guía de estilo para la aplicación de la marca gráfica a posibles productos. La asociación Eucrante tiene como finalidad promover un mundo donde todas las especies convivan, centrando su campo de acción en el medio marino. Por otro lado, busca poder llevar a cabo proyectos multidisciplinares que contribuyan a la preservación de los océanos a través de la cooperación con personas y/o entidades afines. Su filosofía se basa en los principios y fines expuestos en el objetivo número 14 de los establecidos por las Naciones Unidas para el desarrollo sostenible que dice: ¿Conservar y utilizar sosteniblemente los océanos, los mares y los recursos marinos para el desarrollo sostenible.¿ Tras varias reuniones con el equipo que conforma la ONG, lo primero que se ha definido son los requerimientos y los valores a transmitir. Se ha elaborado un brief en el que se establece la filosofía, analizando el uso de la actual marca y el cambio que se quiere lograr. Se ha estudiado visualmente el mercado de ONG¿s con fines similares. También se realizaron encuestas individuales con el propósito de tener en cuenta las distintas perspectivas de los miembros de la organización. Con esta información se ha elaborado el perfil de una buyer persona y también un moodboard que ha sido utilizado para la elaboración de propuestas. Sobre estos datos, se ha desarrollado el manual de identidad visual corporativa donde se explican las normas de uso de la marca, que incluye el logotipo, la paleta de color, la tipografía, el símbolo y la textura corporativa. Finalmente se ha elaborado una guía de estilo para los productos gráficos, definiendo el estilo de comunicación que se debería utilizar, destacando la conveniencia de ellos frente a otras posibles propuestas, desde nuestro punto de vista, menos aconsejables., [EN] The main aim of this project is to develop a corporate visual identity manual of Eucrante NGO (Gandia, Valencia) and a brand style guide for the application of future graphic products. Eucrante¿s objective is to promote a world where all species are able to live together, the marine environment being their main field of activity. They look to carry out multidisciplinary projects which contribute to the oceans¿ protection through cooperation with people and similar organisations. Their philosophy is based on the UN Sustainable Development Goal 14 which states:¿ Conserve and sustainably use the oceans, seas and marine resources¿. After several meetings with the team at the NGO, the first thing that was defined were the requirements and values to be transmitted. A brief was drawn up in which the philosophy was established, analysing the use of the current brand and the the desired changes. The market of NGOs with similar aims was tudied. Individual surveys were also carried out in order to take into account the different perspectives of the organisation's members. With this information, a buyer persona profile and a moodboard were developed and used for the development of proposals. Based on this data, a corporate visual identity manual was created, explaining the rules of use of the brand, including the logo, colour palette, typography, symbol and corporate texture. Finally, a style guide has been drawn up for the graphic products, which defines the style of communication that should be used, highlighting their suitability compared to other proposals which we consider less suitable.

The use of English template files in workflows involving the multilanguage creation of subtitles from the same source audio assets, typically English, was one of the greatest innovations in the subtitling industry at the turn of the century. It streamlined processes, eliminated duplication of work, reduced direct costs, improved timelines and facilitated the quality control of large volumes of subtitle files whilst expanding the pool of available translators to complete the work. Template files set the basis for the globalisation of the subtitling industry and, almost two decades since their inception, they are still a topic of debate among language service providers and subtitlers. The present paper is a descriptive work, presenting a set of guidelines devised by the present author at the turn of the century, and used in practice for almost a decade in the production of multilingual subtitling work, enhanced and improved upon by the very subtitlers that worked with them. It aims at providing a reference point for debate to researchers in the subtitling field, so as to further the ongoing discussion on interlingual subtitling quality, practices and standards.

Recently online streaming platforms have facilitated the circulation of audiovisual products. Among these, Netflix reaches more than 130 million viewers around the world. In addition to a variety of American movies, TV shows, and documentaries, Netflix has started to offer local original series from Spain, Germany, Italy, and the U.K. In December 2018, Netflix released its first original series in Turkish entitled “The Protector”. Though Turkish soap operas have been drawing great interest around the world lately, a Turkish series produced for Netflix means reaching considerable number of viewers from different cultural backgrounds. The following descriptive study aims to examine English subtitles of “The Protector” in terms of cultural references to determine if the ‘source cultural tone’ is preserved or the meaning is brought closer to target culture for the sake of providing an audience friendly subtitling and whether the Timed Text Style Guide offered to subtitlers by Netflix affects the subtitling process. Results showed that cultural references were highly domesticated by the subtitler for the international audience and Timed Text Style Guide provided by Netflix was also seen to have a target language oriented approach while requiring improvements in certain translation choices. Future studies focusing on a comparative analysis of subtitles of this show in other languages and the subtitling of other local Netflix original series in other languages may provide a fruitful platform for the exchange on the issues discussed.

The problems that will be solved in Community Engagement (CE) activities for elementary school teachers in Kecamatan Tingkir is the low ability to write scientific paper among teachers. This CE activity was held at SD Tingkir Lor 2 Salatiga. The participants of the CE were 54 elementary school teachers/principals from the Gugus Joko Tingkir. The model of the CE is a participatory training model. The training activities were carried out for three days from April 23-25, and continued online coaching for 2 weeks. Training material covers the Basics of Writing; Problems in Scientific Paper Writing; Searching materials; Introduction of Online Journals, Introduction to Style Guide and How to Submit in Online Journal. Instruments to measure the success of the process and results of training using questionnaires and evaluation sheets. Data analysis techniques used percentage analysis techniques and categorical descriptive. The results of CE is: teacher knowledge about writing increases; skills in writing papers have been shown to increase from a number of articles published successfully; teacher professionalism has increased, proven to be successful in writing scientific articles; and a close relationship between KKG Gugus Joko Tingkir with PGSD-FKIP UKSW.

Za redizajnom branda Meggle mlijeko dolazi zbog zasićenosti tržišta raznim, no sličnim vrstama dizajna ambalaže na mnogim pakiranjima mlijeka i mliječnih proizvoda. One najčešće uključuju prikaz mlijeka, zelenih livada, farma, čaša i sl. Cilj je izraditi novi vizualni identitet branda Meggle mlijeko koji će potrošačima na prvi pogled privući pozornost s polica omiljenih trgovina. The redesign of the Meggle milk brand is necessary due to the saturation of the market with various, but similar types of packaging designs on many packages of milk and dairy products. They often include images of milk, green meadows, farms, glasses, etc. The goal is to create a new visual identity of the Meggle milk brand that will attract consumers' attention at first glance, just by looking at them on the shelves in their favourite stores.

Mobile devices have become quite popular over the past few years and as a result, the number of applications for the most diverse functions are available for download, many of them free of charge. However, this range of applications does not follow minimum usability parameters, which results in a high level of rejection by users. Within this mobile world, the insertion of devices that aid the health processes, called m-health, has shown an exponential growth in recent years and with this, the warning signal about the efficiency and security of information has been triggered. To remedy this weakness, the introduction of usability techniques during the application development process appears as crucial for minimizing the problem. Numerous studies cite the need for usability in m-health applications, but none of them points out how to obtain it. In this way, this work aims to verify if the design guidelines provided by the Google / Android platform, which is presented as a contribution to mobile software developers, presents guidelines that make it possible to obtain the maximum usability of these applications, considering the proposed user profile and the context of use involved. To this end, the proposal will be based on the comparison between the guidelines contained in the ISO standard (9241) and in consultation with the style guide of the platform called material design.

Face shape identification is needed to reference the hijab style selection. Many people don’t know their face shape. The mistake of choosing a hijab style makes the face look disproportionate. The morphological facial index model is used to identify the face shape by calculating the length and width of the face. Face Landmark point is used for facial feature extraction which is used as an attribute in the study, namely face height, face width, upper jaw width and lower jaw width. Various kinds of hijab styles and the absence of a hijab style guide make it difficult to choose a hijab style that suits your face shape. Machine learning is needed to create a hijab style selection system. Random Forest was chosen as the method for choosing the hijab style. The purpose of this study is the implementation of a random forest for the selection of hijab styles based on face shape using morphological facial index. This study used 129 images of female facial data which was split into 89% training data and 11% test data. The prediction system produces an accuracy value of 93% with 30 trees for pashmina, scarf and instant hijab styles. The use of the random forest method is proven to be able to predict the selection of hijab styles based on face shape using morphological facial index. Scikit-learn tool used to random forest modelling and evaluated the efficiency of our proposed method.

For CS50 at Harvard, we have developed a suite of free, open-source tools to help students with writing, testing, and submitting programming assignments; and to help teachers grade those assignments and check them for plagiarism. help50, a program that parses error messages and provides beginner-friendly advice to interpreting them, helps students understand and resolve often-cryptic compiler errors. check50 runs a set of automated tests on students' code, providing feedback and hints about where students have made errors. style50 lints students' code, highlighting places where it doesn't meet the course's style guide. submit50 allows students to submit assignments to a GitHub repository, without students needing to have knowledge of git or version control themselves. And compare50, an open-source and customizable alternative to Moss, allows teachers to analyze submissions for similarity, looking for pairs or clusters of submissions that might be the result of improper collaboration. The grading and submission tools require only a GitHub account to use, and can serve as free, extensible alternatives to tools like Codio, Gradescope, and Vocareum. In this workshop, we'll introduce each of the tools, and discuss how to use them for your own classroom. To date, each tool has been deployed to hundreds of students on campus and thousands online. Along the way, we'll discuss how to use the tools effectively, compare and contrast them with other options, identify how the tools have changed students' behavior for the better and for worse, and highlight pedagogical and technological changes we've made to redress the latter. Laptop (with Wi-Fi) required. Linux, macOS, or Windows. Latest version of Chrome.

Dullscreen as an interface design concept suggests minimizing colors to avoid interface confusion and clutter. Dullscreen designs have been applied in several of the author’s efforts to modernize legacy control rooms in nuclear power plants with digital upgrades. A study on system overviews revealed an unexpected finding. One set of screens followed a vendor’s human-computer interface style guide, which featured a series of colorful elements on the screens. Another set of screens followed an in-house style guide that adhered to dullscreen principles. The discovery that the colorful elements were more visually salient, especially when seen across the control room, pointed to a need to reconsider strict adherence to dullscreen design principles.

A design initiative for advanced user interfaces began several years ago with the intent to provide design guidelines for new applications in the form of an interactive prototype toolkit called the User Interface Prototyping Toolkit (UIPT). The concept was to develop a tool that would allow sponsors, customers, end users, designers, engineers and software developers to work together in an iterative fashion to achieve a tailored user interface for the application of interest. An advanced or modern style was applied to the interface to provide a more current and modern look and feel to the user while still adhering to solid principle of design, workflow, tasks, layout, coloring, size, animated actions and user cues or alerts. An overarching goal was to design with a general repeatable structure. This allows each new project to understand what elements are used for and how the work within the user interface. This concept was further exploited by integrating multiple domains within in the same software application and leveraging the use of an end user’s role to smoothly transition from the display from one user role to that of another. UIPT has been successfully integrated with over four projects and a series of user roles and the user interfaces associate with those roles. To maintain this design philosophy an interactive style guide began to be developed to apply design consistency across the multiple projects that utilize UIPT. This interactive style guide just happens to be built with Unity, a 2D and 3D game engine. This is the same tool used to prototype these user interfaces. As such the styles for size, color, layout and other design factors are laid out in an application which can be run to view and work with user interface element illustrated in the common design guide for the projects. Software developers obtain an advantage of having access to the code of the interactive style guide which contains not only how the code is to be implemented but contains the style specification already built into the code. This is advantageous as a means maintain design consistency, not having to repeat design and software development for a majority of the user interface. Additionally, new software developers and designers are provided with a solid template which helps in bring them up to speed at an accelerated rate.

This study presents the initial results of a quest to document the values and practices of journalism produced by Native Hawaiians. The objective is to disrupt and improve journalism by integrating Hawaiian perspectives and practices while supporting the revitalization of Hawaiian language and culture. The knowledge gleaned from Hawaiian journalists helped launch the creation of a Resource and Style Guide for Hawaiʻi. Much can be learned from Hawaiian values and cultural practices on how to include Indigenous perspectives, if we apply a broader interpretation of Western ethical journalism guidelines. Western media will also need to invest in training and education for all journalists and hire more Indigenous people.

Advanced user interfaces continue to improve through better design which in turn translates to more effective development and end use. The intent of this work is to provide design guidelines that can be used across all new applications. An interactive prototype toolkit called the User Interface Prototyping Toolkit (UIPT) was developed to allow sponsors, customers, end users, designers, engineers, and software developers to work together in an iterative fashion to achieve a tailored but guided user interface for the application of interest. Modern styles were applied with a consistent and common look and feel while adhering to solid principle of design, workflow, tasks, layout, coloring, size, animation, and user cues. The design required a general repeatable structure for designers and developers with the intent to allow each new project to understand the overall design and incorporate the features and functionality in accordance with style guide principles. UIPT integrates multiple domains within in the same software application with the ability to efficiently transition an end user’s role from one display presentation to another. To date, several projects and user roles have been integrated into the UIPT. In support of this design philosophy an interactive style guide is in continuous development to apply a common reusable design across the multiple projects that utilize the UIPT-based interface. Both the UIPT application and the interactive style guide were built with Unity, a 2D and 3D game engine. Styles for size, color, layout, and other design factors are laid out in the style guide itself which can be run to visualize and examine interactions. This is advantageous for new and experience software developers because the guide itself contains the code and styles necessary to implement the various components of the user interface while supporting design consistency with reusable code for rapid deployment.

The Lagrangian analysis of particulate matter, biota and drifters, which are dispersed by turbulent fluid currents, is a cornerstone of oceanographic studies, covering diverse study objectives. The results of Lagrangian simulations and observations is predominantly visualised by means of easy-access plotting interfaces and simple presentation techniques. We analysed over 50 publications from the years 2010–2020 with respect to their visual design to deduce common visualisation practices in the domain. Individual figures are analysed towards adherence to visualisation best-practices, algebraic visualisation guidelines and the IPCC visual style guide. In this article, we present the resulting best-practices and common pitfalls in the design of Lagrangian ocean visualisations. Based on this visual study, we highlight that raising awareness of established visual guidelines may have a higher impact on improving the visual quality of publications in oceanography than the vigorous development of more general-purpose visualisation tools.

This study of Rural Studio's style guide uses artifacts and interview findings to examine the role of the style guide in an organization that promotes home ownership to mitigate rural poverty. To address these challenges, the team is developing a suite of communication products. As we conducted the study, we came to understand the style guide as a technology, a dynamic element of the genre ecology that is shaped by and in turn shapes the narratives about both individuals and the problem as a whole.

Back in February, the Daily Telegraph ’s Celia Walden used her column to mock the Royal College of Nursing’s (RCN) style guide on the correct terminology and formats to use in nursing communications.12 The piece was ostensibly light hearted, its tone gently ribbing what Walden saw as the RCN’s po-faced attitude. But it wasn’t hard to construe the meaning behind the joke—namely, that we’ve become far too obsessed with “woke” language and identity politics, that it’s distracting and detracting from the vital work of clinical care, and that staff have better things to worry about than putting their foot in it or getting into …