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novel</title> <meta name="description" content="Search results for: graphic novel"> <meta name="keywords" content="graphic novel"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="graphic novel"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 191</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: graphic novel</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">191</span> Evaluation of the Digitalization in Graphic Design in Turkey</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Veysel%20Seker">Veysel Seker</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Graphic designing and virtual reality have been affected by digital development and technological development for the last decades. This study aims to compare and evaluate digitalization and virtual reality evaluation in traditional and classical methods of the graphic designing sector in Turkey. The qualitative and quantitative studies and research were discussed and identified according to the evaluated results of the literature surveys. Moreover, the study showed that the competency gap between graphic design schools and the field should be determined and well-studied. The competencies of traditional graphic designers will have a big challenge for the purpose of the transition into the developed and evaluated digital graphic design world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digitalization" title="digitalization">digitalization</a>, <a href="https://publications.waset.org/abstracts/search?q=evaluation" title=" evaluation"> evaluation</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20designing" title=" graphic designing"> graphic designing</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title=" virtual reality"> virtual reality</a> </p> <a href="https://publications.waset.org/abstracts/156723/evaluation-of-the-digitalization-in-graphic-design-in-turkey" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156723.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">144</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">190</span> A Forbidden-Minor Characterization for the Class of Co-Graphic Matroids Which Yield the Graphic Element-Splitting Matroids</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Prashant%20Malavadkar">Prashant Malavadkar</a>, <a href="https://publications.waset.org/abstracts/search?q=Santosh%20Dhotre"> Santosh Dhotre</a>, <a href="https://publications.waset.org/abstracts/search?q=Maruti%20Shikare"> Maruti Shikare</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The n-point splitting operation on graphs is used to characterize 4-connected graphs with some more operations. Element splitting operation on binary matroids is a natural generalization of the notion of n-point splitting operation on graphs. The element splitting operation on a graphic (cographic) matroid may not yield a graphic (cographic) matroid. Characterization of graphic (cographic) matroids whose element splitting matroids are graphic (cographic) is known. The element splitting operation on a co-graphic matroid, in general may not yield a graphic matroid. In this paper, we give a necessary and sufficient condition for the cographic matroid to yield a graphic matroid under the element splitting operation. In fact, we prove that the element splitting operation, by any pair of elements, on a cographic matroid yields a graphic matroid if and only if it has no minor isomorphic to M(K4); where K4 is the complete graph on 4 vertices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=binary%20matroids" title="binary matroids">binary matroids</a>, <a href="https://publications.waset.org/abstracts/search?q=splitting" title=" splitting"> splitting</a>, <a href="https://publications.waset.org/abstracts/search?q=element%20splitting" title=" element splitting"> element splitting</a>, <a href="https://publications.waset.org/abstracts/search?q=forbidden%20minor" title=" forbidden minor"> forbidden minor</a> </p> <a href="https://publications.waset.org/abstracts/59445/a-forbidden-minor-characterization-for-the-class-of-co-graphic-matroids-which-yield-the-graphic-element-splitting-matroids" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59445.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">276</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">189</span> Principles of Editing and Storytelling in Relation to Editorial Graphic Design </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Melike%20Tascioglu">Melike Tascioglu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to combine film editing principles to basic design principles to explore what graphic designers do in terms of storytelling. The sequential aspect of film is designed and examined through the art of editing. Examining the rules, principles and formulas of film editing can be a method for graphic designers to further practice the art of storytelling. Although there are many research and publications on design basics, time, pace, dramatic structure and choreography are not very well defined in the area of graphic design. In this era of creative storytelling and interdisciplinary collaboration, not only film editors but also graphic designers and students in the arts and design should understand the theory and practice of editing to be able to create a strong mise-en-scène and not only a mise-en-page. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20principles" title="design principles">design principles</a>, <a href="https://publications.waset.org/abstracts/search?q=editing%20principles" title=" editing principles"> editing principles</a>, <a href="https://publications.waset.org/abstracts/search?q=editorial%20design" title=" editorial design"> editorial design</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20editing" title=" film editing"> film editing</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20design" title=" graphic design"> graphic design</a>, <a href="https://publications.waset.org/abstracts/search?q=storytelling" title=" storytelling"> storytelling</a> </p> <a href="https://publications.waset.org/abstracts/3528/principles-of-editing-and-storytelling-in-relation-to-editorial-graphic-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3528.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">331</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">188</span> Rendering of Indian History: A Study Based on Select Graphic Novels</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Akhila%20Sara%20Varughese">Akhila Sara Varughese</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the postmodern society, visual narratives became an emerging genre in the field of literature. Graphic literature focuses on the literal and symbolic layer of interpretation. The most salient feature of graphic literature is its exploration of the public history of events and life narratives. The Indian graphic literature re-interprets the canon, style and the form of texts in Indian Writing in English and it demands a new literacy and the structure of the English literature. With the help of visual-verbal language, the graphic narratives discuss various facets of contemporary India. Graphic novels have firmly identified itself with the art of storytelling because of its capability of expressing human experiences to the most. In the textual novels, the author usually deserts the imagination of the readers, but in the case of graphic narratives, due to the presence of visual elements, the interpretation becomes simpler. India is the second most populous country in the world with a long tradition of history and culture. Indian literature always tries to reconstruct Indian history in various modes of representation. The present paper focuses on the fictional articulation of Indian history through the graphic narratives and analyses how some historical events in India portrays. The paper also traces the differences in rendering the history in graphic novels with that of textual novels. The paper discusses how much the blending of words and images helps in represent the Indian history by analyzing the graphic novels like Kashmir Pending by Naseer Ahmed, Delhi Calm by Vishwajyoti Ghosh and Munnu by Malik Sajad. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=graphic%20novels" title="graphic novels">graphic novels</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20history" title=" Indian history"> Indian history</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=visual-verbal%20literacy" title=" visual-verbal literacy"> visual-verbal literacy</a> </p> <a href="https://publications.waset.org/abstracts/87258/rendering-of-indian-history-a-study-based-on-select-graphic-novels" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87258.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">347</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">187</span> Madame Bovary in Transit: from Novel to Graphic Novel</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hania%20Pasandi">Hania Pasandi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Since its publication in 1856, Madame Bovary has established itself as one of the most adapted texts of French literature. Some eighteen film adaptations and twenty-seven rewritings of Madame Bovary in fiction to date shows a great enthusiasm for recreating Flaubert’s masterpiece in a variety of mediums. Posy Simmonds’ 1999 graphic novel, Gemma Bovery stands out among these adaptations as the graphic novel with its visual and narrative structure offers a new reading experience of Madame Bovary, while combining Emma Bovary’s elements with contemporary social, cultural, and artistic discourses. This paper studies the transposition of Flaubert’s Madame Bovary (1857) to late twentieth-century Britain in Posy Simmonds’ 1999 graphic novel, Gemma Bovery by exploring how it borrows the essential flaubertian themes, from its source text to incorporate it with contemporary cultural trends. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=graphic%20novel" title="graphic novel">graphic novel</a>, <a href="https://publications.waset.org/abstracts/search?q=Gemma%20Bovery" title=" Gemma Bovery"> Gemma Bovery</a>, <a href="https://publications.waset.org/abstracts/search?q=Madame%20Bovary" title=" Madame Bovary"> Madame Bovary</a>, <a href="https://publications.waset.org/abstracts/search?q=transposition" title=" transposition"> transposition</a> </p> <a href="https://publications.waset.org/abstracts/129063/madame-bovary-in-transit-from-novel-to-graphic-novel" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/129063.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">153</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">186</span> Breathing New Life into Old Media</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dennis%20Schmickle">Dennis Schmickle</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introductory statement: Augmented reality (AR) can be used to breathe life into traditional graphic design media, such as posters, book covers, and album art. AR superimposes a unique image/video on a user’s view of the real world, which makes it more immersive and realistic than traditional 2D media. This study developed a series of projects that utilize both traditional and AR media to teach the fundamental principles of graphic design. The results of this study suggest that AR can be an effective tool for teaching graphic design. Abstract: Traditional graphic design media, such as posters, book covers, and album art, could be considered to be “old media.” However, augmented reality (AR) can breathe life into these formats by making them more interactive and engaging for students and audiences alike. AR is a technology that superimposes a computer-generated image on a user’s view of the real world. This allows users to interact with digital content in a way that is more immersive and interactive than traditional 2D media. AR is becoming increasingly popular, as more and more people have access to smartphones and other devices that can support AR experiences. This study is comprised of a series of projects that utilize both traditional and AR media to teach the fundamental principles of graphic design. In these projects, students learn to create traditional design objects, such as posters, book covers, and album art. However, they are also required to create an animated version of their design and to use AR software to create an AR experience with which viewers can interact. The results of this study suggest that AR can be an effective and exciting tool for teaching graphic design. The students who participated in the study were able to learn the fundamental principles of graphic design, and they also developed the skills they need to create effective AR content. This study has implications for the future of graphic design education. As AR becomes more popular, it is likely that it will become an increasingly important tool for teaching graphic design. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=graphic%20design" title="graphic design">graphic design</a>, <a href="https://publications.waset.org/abstracts/search?q=augmented%20reality" title=" augmented reality"> augmented reality</a>, <a href="https://publications.waset.org/abstracts/search?q=print%20media" title=" print media"> print media</a>, <a href="https://publications.waset.org/abstracts/search?q=new%20media" title=" new media"> new media</a>, <a href="https://publications.waset.org/abstracts/search?q=AR" title=" AR"> AR</a>, <a href="https://publications.waset.org/abstracts/search?q=old%20media" title=" old media"> old media</a> </p> <a href="https://publications.waset.org/abstracts/159740/breathing-new-life-into-old-media" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159740.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">68</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">185</span> Communication Design in Newspapers: A Comparative Study of Graphic Resources in Portuguese and Spanish Publications</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=F%C3%A1tima%20Gon%C3%A7alves">Fátima Gonçalves</a>, <a href="https://publications.waset.org/abstracts/search?q=Joaquim%20Brigas"> Joaquim Brigas</a>, <a href="https://publications.waset.org/abstracts/search?q=Jorge%20Gon%C3%A7alves"> Jorge Gonçalves</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As a way of managing the increasing volume and complexity of information that circulates in the present time, graphical representations are increasingly used, which add meaning to the information presented in communication media, through an efficient communication design. The visual culture itself, driven by technological evolution, has been redefining the forms of communication, so that contemporary visual communication represents a major impact on society. This article presents the results and respective comparative analysis of four publications in the Iberian press, focusing on the formal aspects of newspapers and the space they dedicate to the various communication elements. Two Portuguese newspapers and two Spanish newspapers were selected for this purpose. The findings indicated that the newspapers show a similarity in the use of graphic solutions, which corroborate a visual trend in communication design. The results also reveal that Spanish newspapers are more meticulous with graphic consistency. This study intended to contribute to improving knowledge of the Iberian generalist press. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication%20design" title="communication design">communication design</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20resources" title=" graphic resources"> graphic resources</a>, <a href="https://publications.waset.org/abstracts/search?q=Iberian%20press" title=" Iberian press"> Iberian press</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20journalism" title=" visual journalism"> visual journalism</a> </p> <a href="https://publications.waset.org/abstracts/87512/communication-design-in-newspapers-a-comparative-study-of-graphic-resources-in-portuguese-and-spanish-publications" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87512.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">269</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">184</span> Print Media Framing of National Disasters: A Content Analysis of the Daily Graphic and Daily Guide</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abena%20Abokoma%20Asemanyi">Abena Abokoma Asemanyi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study examined how the National Disasters are framed in the print media: a study of Daily Graphic newspaper in Ghana. The communication theories employed to conduct this study was Agenda Setting Theory by McCombs and Shaw and the Framing theory by Goffman and Entman. The media’s coverage of National Disasters are of much concern to the general public. This research seeks to know how the Daily Graphic framed National Disasters that occurred in January 2015 and June 2015 respectively. The January 2015 National Disasters was termed as Fire Outbreaks while the June 2015 National Disasters was Twin Disasters. A total of 43 disaster news stories were analysed for this study. Out of the total number, 9 headline stories were analysed in the month of January 2015 and 34 headline stories were looked at in the month of June 2015. The study came up with five (5) themes. Through Content Analysis, the study also revealed that the theme of Action featured more than the other themes which are Fear, Violence, Sympathy and Confusion. Finally, the study showed the number of days disaster news headlines lasted in the Daily Graphic during the period stated above. It was revealed that the Fire Outbreaks in January 2015 appeared in the Daily Graphic for 8 days while the Twin Disasters appeared in 16 days in June 2015. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=national%20disaster%20framing" title="national disaster framing">national disaster framing</a>, <a href="https://publications.waset.org/abstracts/search?q=ghana" title=" ghana"> ghana</a>, <a href="https://publications.waset.org/abstracts/search?q=daily%20graphic" title=" daily graphic"> daily graphic</a>, <a href="https://publications.waset.org/abstracts/search?q=daily%20guide" title=" daily guide"> daily guide</a> </p> <a href="https://publications.waset.org/abstracts/73823/print-media-framing-of-national-disasters-a-content-analysis-of-the-daily-graphic-and-daily-guide" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/73823.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">428</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">183</span> The Forensic Analysis of Engravers' Handwriting</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olivia%20Rybak-Karkosz">Olivia Rybak-Karkosz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper is to present the result of scientific research using forensic handwriting analysis. It was conducted to verify the stability and lability of handwriting of engravers and check if gravers transfer their traits from handwriting to plates and other surfaces they rework. This research methodology consisted of completing representative samples of signatures of gravers written on a piece of paper using a ballpen and signatures engraved on other surfaces. The forensic handwriting analysis was conducted using the graphic-comparative method (graphic method), and all traits were analysed. The paper contains a concluding statement of the similarities and differences between the samples. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%E2%80%99s%20signatures" title="artist’s signatures">artist’s signatures</a>, <a href="https://publications.waset.org/abstracts/search?q=engraving" title=" engraving"> engraving</a>, <a href="https://publications.waset.org/abstracts/search?q=forensic%20handwriting%20analysis" title=" forensic handwriting analysis"> forensic handwriting analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic-comparative%20method" title=" graphic-comparative method"> graphic-comparative method</a> </p> <a href="https://publications.waset.org/abstracts/152839/the-forensic-analysis-of-engravers-handwriting" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152839.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">102</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">182</span> Systems Approach to Design and Production of Picture Books for the Pre-Primary Classes to Attain Educational Goals in Southwest Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azeez%20Ayodele%20Ayodele">Azeez Ayodele Ayodele</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper investigated the problem of picture books design and the quality of the pictures in picture books. The research surveyed nursery and primary schools in four major cities in southwest of Nigeria. The instruments including the descriptive survey questionnaire and a structured interview were developed, validated and administered for collection of relevant data. Descriptive statistics was used in analyzing the data. The result of the study revealed that there were poor quality of pictures in picture books and this is due to scarcity of trained graphic designers who understand systems approach to picture books design and production. There is thus a need for more qualified graphic designers, given in-service professional training as well as a refresher course as criteria for upgrading by the stakeholders. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=pictures" title="pictures">pictures</a>, <a href="https://publications.waset.org/abstracts/search?q=picture%20books" title=" picture books"> picture books</a>, <a href="https://publications.waset.org/abstracts/search?q=pre-primary%20schools" title=" pre-primary schools"> pre-primary schools</a>, <a href="https://publications.waset.org/abstracts/search?q=trained%20graphic%20designers" title=" trained graphic designers"> trained graphic designers</a> </p> <a href="https://publications.waset.org/abstracts/52170/systems-approach-to-design-and-production-of-picture-books-for-the-pre-primary-classes-to-attain-educational-goals-in-southwest-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/52170.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">247</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">181</span> Graphic Animation: Innovative Language Learning for Autistic Children </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Norfishah%20Mat%20Rabi">Norfishah Mat Rabi</a>, <a href="https://publications.waset.org/abstracts/search?q=Rosma%20Osman"> Rosma Osman</a>, <a href="https://publications.waset.org/abstracts/search?q=Norziana%20Mat%20Rabi"> Norziana Mat Rabi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It is difficult for autistic children to mix with and be around with other people. Language difficulties are a problem that affects their social life. A lack of knowledge and ability in language are factors that greatly influence their behavior, and their ability to communicate and interact. Autistic children need to be assisted to improve their language abilities through the use of suitable learning resources. This study is conducted to identify weather graphic animation resources can help autistic children learn and use transitive verbs more effectively. The study was conducted in a rural secondary school in Penang, Malaysia. The research subject comprised of three autistic students ranging in age from 14 years to 16 years. The 14-year-old student is placed in A Class and two 16-year-old students placed in B Class. The class placement of the subjects is based on the diagnostic test results conducted by the teacher and not based on age. Data collection is done through observation and interviews for the duration of five weeks; with the researcher allocating 30 minutes for every learning activity carried out. The research finding shows that the subjects learn transitive verbs better using graphic animation compared to static pictures. It is hoped that this study will give a new perspective towards the learning processes of autistic children. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=graphic%20animation" title="graphic animation">graphic animation</a>, <a href="https://publications.waset.org/abstracts/search?q=autistic%20children" title=" autistic children"> autistic children</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20learning" title=" language learning"> language learning</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching" title=" teaching"> teaching</a> </p> <a href="https://publications.waset.org/abstracts/42074/graphic-animation-innovative-language-learning-for-autistic-children" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/42074.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">276</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">180</span> History and Its Significance in Modern Visual Graphic: Its Niche with Respect to India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hemang%20Madhusudan%20Anglay">Hemang Madhusudan Anglay</a>, <a href="https://publications.waset.org/abstracts/search?q=Akash%20Gaur"> Akash Gaur</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Value of visual perception in today’s context is vulnerable. Visual Graphic broadly and conveniently expresses culture, language and science of art that satisfactorily is a mould to cast various expressions. It is one of the essential parts of communication design which relatively can be used to approach the above areas of expressions. In between the receptors and interpreters, there is an expanse of comprehension and cliché in relation to the use of Visual Graphics. There are pedagogies, commodification and honest reflections where Visual Graphic is a common area of interest. The traditional receptors amidst the dilemma of this very situation find themselves in the pool of media, medium and interactions. Followed by a very vague interpretation the entire circle of communication becomes a question of comprehension vs cliché. Residing in the same ‘eco-system’ these communities who make pedagogies and multiply its reflections sometimes with honesty and sometimes on commercial values tend to function differently. With the advent of technology, which is a virtual space allows the user to access various forms of content. This diminishes the core characteristics and creates a vacuum even though it satisfies the user. The symbolic interpretation of visual form and structure is transmitted in a culture by the means of contemporary media. Starting from a very individualistic approach, today it is beyond Print & Electronic media. The expected outcome will be a study of Ahmedabad City, situated in the Gujarat State of India. It is identity with respect to socio-cultural as well as economic changes. The methodology will include process to understand the evolution and narratives behind it that will encompass diverse community, its reflection and it will sum up the salient features of communication through combination of visual and graphic that is relevant in Indian context trading its values to global scenario. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication" title="communication">communication</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic" title=" graphic"> graphic</a>, <a href="https://publications.waset.org/abstracts/search?q=visual" title=" visual"> visual</a> </p> <a href="https://publications.waset.org/abstracts/62304/history-and-its-significance-in-modern-visual-graphic-its-niche-with-respect-to-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62304.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">275</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">179</span> Translating History in a Brazilian Graphic Novel: A Translation Project for Angola Janga by Marcelo D'Salete</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carolina%20Rezende">Carolina Rezende</a>, <a href="https://publications.waset.org/abstracts/search?q=Julio%20Cesar%20Neves%20Monteiro"> Julio Cesar Neves Monteiro</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditionally, History and fiction are considered to be opposing fields of study. While one is linked to the study of facts, things that have happened within the limits of ‘reality’, the other explores a made-up world, originated from imagination and fantasy. However, despite their apparent discrepancies, there is a fundamental trait that brings them closer. Historical narratives, similarly to fiction ones, are produced based on multiple interpretations of an event, which are transmitted in a rather subjective way by language. It is within this perspective of history and fiction intertwined that this paper aims to discuss the translation of historical facts in the graphic novel Angola Janga, by Marcelo D’Salete, as well as presenting it as a historical document. The novel, which is divided into 11 short stories, narrates the rebellions that took place in Serra da Barriga, between the 16th and 17th centuries, that resulted in the Guerra dos Palmares. The graphic novel in question is a result of the author’s 11-year historical and bibliographical research, which combines history and fiction in order to shed a light of the confrontation that history seems to overlook. Also, the book includes a foreword, glossary, chronological line of Guerra dos Palmares, as well as maps and references used by the author during his research. For that, a few segments from the book will be selected and translated in order to show such connection between history and fiction, and the discussion resulted from it will be based on the works of Southgate (2009), Pym (2001) and D’hulst (2001). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=graphic%20novel" title="graphic novel">graphic novel</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a>, <a href="https://publications.waset.org/abstracts/search?q=fiction" title=" fiction"> fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=Palmares" title=" Palmares"> Palmares</a> </p> <a href="https://publications.waset.org/abstracts/100900/translating-history-in-a-brazilian-graphic-novel-a-translation-project-for-angola-janga-by-marcelo-dsalete" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/100900.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">176</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">178</span> Pilot Study of the Psychometric Properties of the Test of Predisposition towards the Bullying</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rosana%20Choy">Rosana Choy</a>, <a href="https://publications.waset.org/abstracts/search?q=Fabiola%20Henostroza"> Fabiola Henostroza</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Actual theory suggests social-ecological factors as the main framework of bullying. Most previous research in this phenomenon is focused on the identification of bullying attitudes and conducts in puberty and adolescence periods. For this reason, this study is considered as a contribution to the existing knowledge in measuring matters, because of its non-traditional way of evaluation (graphic items), and because of its approach to a distinctive age group, children from 7 to 9 years-old, not regularly examined in current studies in this field. The research used a transversal descriptive investigation design for the development of a graphic test for bullying predisposition. The process began with the operationalization of the variable bullying predisposition, the structuring of the factors and variable indicators of a pilot instrument, evaluation by experts of the items representation, and finally it continued with the test application to children of two types of regular school population in Lima-Peru: private and public schools. The reliability level was 0.85 and the validity of the test corroborated the three-factor structure proposed by the researchers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bullying" title="bullying">bullying</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20test" title=" graphic test"> graphic test</a>, <a href="https://publications.waset.org/abstracts/search?q=reliability" title=" reliability"> reliability</a>, <a href="https://publications.waset.org/abstracts/search?q=validity" title=" validity"> validity</a> </p> <a href="https://publications.waset.org/abstracts/68067/pilot-study-of-the-psychometric-properties-of-the-test-of-predisposition-towards-the-bullying" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/68067.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">266</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">177</span> Usability Testing with Children: BatiKids Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hestiasari%20Rante">Hestiasari Rante</a>, <a href="https://publications.waset.org/abstracts/search?q=Leonardo%20De%20Ara%C3%BAjo"> Leonardo De Araújo</a>, <a href="https://publications.waset.org/abstracts/search?q=Heidi%20Schelhowe"> Heidi Schelhowe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Usability testing with children is similar in many aspects to usability testing with adults. However, there are a few differences that one needs to be aware of in order to get the most out of the sessions, and to ensure that children are comfortable and enjoying the process. This paper presents the need to acquire methodological knowledge for involving children as test users in usability testing, with consideration on Piaget’s theory of cognitive growth. As a case study, we use BatiKids, an application developed to evoke children’s enthusiasm to be involved in culture heritage preservation. The usability test was applied to 24 children from 9 to 10 years old. The children were divided into two groups; one interacted with the application through a graphic tablet with pen, and the other through touch screen. Both of the groups had to accomplish the same amount of tasks. In the end, children were asked to give feedback. The results suggested that children who interacted using the graphic tablet with pen had more difficulties rather than children who interacted through touch screen. However, the difficulty brought by the graphic tablet with pen is an important learning objective in order to understand the difficulties of using <em>canting</em>, which is an important part of batik. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=batikids" title="batikids">batikids</a>, <a href="https://publications.waset.org/abstracts/search?q=children" title=" children"> children</a>, <a href="https://publications.waset.org/abstracts/search?q=child-computer%20interaction" title=" child-computer interaction"> child-computer interaction</a>, <a href="https://publications.waset.org/abstracts/search?q=usability%20test" title=" usability test"> usability test</a> </p> <a href="https://publications.waset.org/abstracts/53176/usability-testing-with-children-batikids-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53176.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">296</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">176</span> A Small Graphic Lie. The Photographic Quality of Pierre Bourdieu’s Correspondance Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lene%20Granzau%20Juel-Jacobsen">Lene Granzau Juel-Jacobsen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The problem of beautification is an obvious concern of photography, claiming reference to reality, but it also lies at the very heart of social theory. As we become accustomed to sophisticated visualizations of statistical data in pace with the development of software programs, we should not only be inclined to ask new types of research questions, but we also need to confront social theories based on such visualization techniques with new types of questions. Correspondence Analysis, GIS analysis, Social Network Analysis, and Perceptual Maps are current examples of visualization techniques popular within the social sciences and neighboring disciplines. This article discusses correspondence analysis, arguing that the graphic plot of correspondence analysis is to be interpreted much similarly to a photograph. It refers no more evidently or univocally to reality than a photograph, representing social life no more truthfully than a photograph documents. Pierre Bourdieu’s theoretical corpus, especially his theory of fields, relies heavily on correspondence analysis. While much attention has been directed towards critiquing the somewhat vague conceptualization of habitus, limited focus has been placed on the equally problematic concepts of social space and field. Based on a re-reading of the Distinction, the article argues that the concepts rely on ‘a small graphic lie’ very similar to a photograph. Like any other piece of art, as Bourdieu himself recognized, the graphic display is a politically and morally loaded representation technique. However, the correspondence analysis does not necessarily serve the purpose he intended. In fact, it tends towards the pitfalls he strove to overcome. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=datavisualization" title="datavisualization">datavisualization</a>, <a href="https://publications.waset.org/abstracts/search?q=correspondance%20analysis" title=" correspondance analysis"> correspondance analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=bourdieu" title=" bourdieu"> bourdieu</a>, <a href="https://publications.waset.org/abstracts/search?q=Field" title=" Field"> Field</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20representation" title=" visual representation"> visual representation</a> </p> <a href="https://publications.waset.org/abstracts/171857/a-small-graphic-lie-the-photographic-quality-of-pierre-bourdieus-correspondance-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171857.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">68</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">175</span> Urban Meetings: Graphic Analysis of the Public Space in a Cultural Building from São Paulo</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Thalita%20Carvalho%20Martins%20de%20Castro">Thalita Carvalho Martins de Castro</a>, <a href="https://publications.waset.org/abstracts/search?q=N%C3%BAbia%20Bernardi"> Núbia Bernardi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Currently, studies evidence that our cities are portraits of social relations. In the midst of so many segregations, cultural buildings emerge as a place to assemble collective activities and expressions. Through theater, exhibitions, educational workshops, libraries, the architecture approaches human relations and seeks to propose meeting places. The purpose of this research is to deepen the discussions about the contributions of cultural buildings in the use of the spaces of the contemporary city, based on the data and measure collected in the master's research in progress. The graphic analysis of the insertion of contemporary cultural buildings seeks to highlight the social use of space. The urban insertions of contemporary cultural buildings in the city of São Paulo (Brazil) will be analyzed to understand the relations between the architectural form and its audience. The collected data describe a dynamic of flows and the permanence in the use of these spaces, indicating the contribution of the cultural buildings, associated with artistic production, in the dynamics of urban spaces and the social modifications of their milieu. Among the case studies, the research in development is based on the registration and graphic analysis of the Praça das Artes (2012) building located in the historical central region of the city, which after a long period of great degradation undergoes a current redevelopment. The choice of this building was based on four parameters, both on the architectural scale and on the urban scale: urban insertion, local impact, cultural production and a mix of uses. For the analysis will be applied two methodologies of graphic analysis, one with diagrams accompanied by texts and another with the active analysis for open space projects using complementary graphic methodologies, with maps, plants, info-graphics, perspectives, time-lapse videos and analytical tables. This research aims to reinforce the debates between the methodologies of form-use spaces and visual synthesis applied in cultural buildings, in order that new projects can structure public spaces as catalysts for social use, generating improvements in the daily life of its users and in the cities where they are inserted. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20buildings" title="cultural buildings">cultural buildings</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20methodologies" title=" design methodologies"> design methodologies</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20analysis" title=" graphic analysis"> graphic analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20spaces" title=" public spaces"> public spaces</a> </p> <a href="https://publications.waset.org/abstracts/69217/urban-meetings-graphic-analysis-of-the-public-space-in-a-cultural-building-from-sao-paulo" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/69217.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">306</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">174</span> Fostering Students' Engagement with Historical Issues Surrounding the Field of Graphic Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sara%20Corvino">Sara Corvino</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of this study is to explore the potential of inclusive learning and assessment strategies to foster students' engagement with historical debates surrounding the field of graphic design. The goal is to respond to the diversity of L4 Graphic Design students, at Nottingham Trent University, in a way that instead of 'lowering standards' can benefit everyone. This research tests, measures, and evaluates the impact of a specific intervention, an assessment task, to develop students' critical visual analysis skills and stimulate a deeper engagement with the subject matter. Within the action research approach, this work has followed a case study research method to understand students' views and perceptions of a specific project. The primary methods of data collection have been: anonymous electronic questionnaire and a paper-based anonymous critical incident questionnaire. NTU College of Business Law and Social Sciences Research Ethics Committee granted the Ethical approval for this research in November 2019. Other methods used to evaluate the impact of this assessment task have been Evasys's report and students' performance. In line with the constructivist paradigm, this study embraces an interpretative and contextualized analysis of the collected data within the triangulation analytical framework. The evaluation of both qualitative and quantitative data demonstrates that active learning strategies and the disruption of thinking patterns can foster greater students' engagement and can lead to meaningful learning. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=active%20learning" title="active learning">active learning</a>, <a href="https://publications.waset.org/abstracts/search?q=assessment%20for%20learning" title=" assessment for learning"> assessment for learning</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20design" title=" graphic design"> graphic design</a>, <a href="https://publications.waset.org/abstracts/search?q=higher%20education" title=" higher education"> higher education</a>, <a href="https://publications.waset.org/abstracts/search?q=student%20engagement" title=" student engagement"> student engagement</a> </p> <a href="https://publications.waset.org/abstracts/128671/fostering-students-engagement-with-historical-issues-surrounding-the-field-of-graphic-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128671.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">178</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">173</span> Exploring Augmented Reality in Graphic Design: A Hybrid Pedagogical Model for Design Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nan%20Hu">Nan Hu</a>, <a href="https://publications.waset.org/abstracts/search?q=Wujun%20Wang"> Wujun Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the ever-changing digital arena, augmented reality (AR) applications have transitioned from technological enthusiasm into business endeavors, signaling a near future in which AR applications are integrated into daily life. While practitioners in the design industry continue to explore AR’s potential for innovative communication, educators have taken steps to incorporate AR into the curricula for design, explore its creative potential, and realize early initiatives for teaching AR in design-related disciplines. In alignment with recent advancements, this paper presents a pedagogical model for a hybrid studio course in which students collaborate with AR alongside 3D modeling and graphic design. The course extended students’ digital capacity, fostered their design thinking skills, and immersed them in a multidisciplinary design process. This paper outlines the course and evaluates its effectiveness by discussing challenges encountered and outcomes generated in this particular pedagogical context. By sharing insights from the teaching experience, we aim to empower the community of design educators and offer institutions a valuable reference for advancing their curricular approaches. This paper is a testament to the ever-evolving landscape of design education and its response to the digital age. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=3D" title="3D">3D</a>, <a href="https://publications.waset.org/abstracts/search?q=AR" title=" AR"> AR</a>, <a href="https://publications.waset.org/abstracts/search?q=augmented%20reality" title=" augmented reality"> augmented reality</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20thinking" title=" design thinking"> design thinking</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20design" title=" graphic design"> graphic design</a> </p> <a href="https://publications.waset.org/abstracts/177756/exploring-augmented-reality-in-graphic-design-a-hybrid-pedagogical-model-for-design-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/177756.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">71</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">172</span> Graphic Narratives: Representations of Refugeehood in the Form of Illustration</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pauline%20Blanchet">Pauline Blanchet</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In a world where images are a prominent part of our daily lives and a way of absorbing information, the analysis of the representation of migration narratives is vital. This thesis raises questions concerning the power of illustrations, drawings and visual culture in order to represent the migration narratives in the age of Instagram. The rise of graphic novels and comics has come about in the last fifteen years, specifically regarding contemporary authors engaging with complex social issues such as migration and refugeehood. Due to this, refugee subjects are often in these narratives, whether they are autobiographical stories or whether the subject is included in the creative process. Growth in discourse around migration has been present in other art forms; in 2018, there has been dedicated exhibitions around migration such as Tania Bruguera at the TATE (2018-2019), ‘Journeys Drawn’ at the House of Illustration (2018-2019) and dedicated film festivals (2018; the Migration Film Festival), which have shown the recent considerations of using the arts as a medium of expression regarding themes of refugeehood and migration. Graphic visuals are fast becoming a key instrument when representing migration, and the central thesis of this paper is to show the strength and limitations of this form as well the methodology used by the actors in the production process. Recent works which have been released in the last ten years have not being analysed in the same context as previous graphic novels such as Palestine and Persepolis. While a lot of research has been done on the mass media portrayals of refugees in photography and journalism, there is a lack of literature on the representation with illustrations. There is little research about the accessibility of graphic novels such as where they can be found and what the intentions are when writing the novels. It is interesting to see why these authors, NGOs, and curators have decided to highlight these migrant narratives in a time when the mainstream media has done extensive coverage on the ‘refugee crisis’. Using primary data by doing one on one interviews with artists, curators, and NGOs, this paper investigates the efficiency of graphic novels for depicting refugee stories as a viable alternative to other mass medium forms. The paper has been divided into two distinct sections. The first part is concerned with the form of the comic itself and how it either limits or strengthens the representation of migrant narratives. This will involve analysing the layered and complex forms that comics allow such as multimedia pieces, use of photography and forms of symbolism. It will also show how the illustration allows for anonymity of refugees, the empathetic aspect of the form and how the history of the graphic novel form has allowed space for positive representations of women in the last decade. The second section will analyse the creative and methodological process which takes place by the actors and their involvement with the production of the works. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=graphic%20novel" title="graphic novel">graphic novel</a>, <a href="https://publications.waset.org/abstracts/search?q=refugee" title=" refugee"> refugee</a>, <a href="https://publications.waset.org/abstracts/search?q=communication" title=" communication"> communication</a>, <a href="https://publications.waset.org/abstracts/search?q=media" title=" media"> media</a>, <a href="https://publications.waset.org/abstracts/search?q=migration" title=" migration"> migration</a> </p> <a href="https://publications.waset.org/abstracts/106863/graphic-narratives-representations-of-refugeehood-in-the-form-of-illustration" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/106863.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">117</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">171</span> Immersive and Interactive Storytelling: Exploring Narratives and Online Multisensory Experience for Cultural Memory and Collective Awareness through Graphic Novel</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cristina%20Greco">Cristina Greco</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The spread of the digital and we-based technologies has led to a transformation process, which has coincided with an increase in the number of cases who are beyond the mainstream storytelling and its codes on the interaction with the user. On the base of a previous research on i-docs and virtual museums, this study analyses interactive and immersive online Graphic Novel – one-page, animated, illustrated, and hybrid – to reflect on the transformational implications of this expressive form on the user perception, remembrance, and awareness. The way in which the user experiences a certain level of interaction with the story and immersion in the semantic and figurative universe would bring user’s attention, activating introspection and self-reflection processes, perception, imagination, and creativity. This would have to do with the involvement of different senses – visual, proprioceptive, tactile, auditory, and vestibular – and the activation of a phenomenon of synaesthesia (involuntary cross-modal sensory association) – where, for example, the aural reconnect the user to another sense, providing a multisensory experience. The case studies show specific forms of interactive and immersive graphic novel and reflect on application that has sought to engage innovative ways to communicate different messages and stimulate cultural memory and collective awareness. The visual semiotic and narrative analysis of the distinctive traits of such a complex textuality, along with a study of the user’s experience through observation in naturalistic settings and interviews, allows us to question the functioning of these configurations, with regard to the relationships between the figurative dimension, the perceptive activity, and their impact on the user’s engagement. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=collective%20awareness" title="collective awareness">collective awareness</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20memory" title=" cultural memory"> cultural memory</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20novel" title=" graphic novel"> graphic novel</a>, <a href="https://publications.waset.org/abstracts/search?q=interactive%20and%20immersive%20storytelling" title=" interactive and immersive storytelling"> interactive and immersive storytelling</a> </p> <a href="https://publications.waset.org/abstracts/113110/immersive-and-interactive-storytelling-exploring-narratives-and-online-multisensory-experience-for-cultural-memory-and-collective-awareness-through-graphic-novel" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/113110.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">149</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">170</span> Examining the Functional and Practical Aspects of Iranian Painting as a Visual-Identity Language in Iranian Graphics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arezoo%20Seifollahi">Arezoo Seifollahi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the topics that is receiving a lot of attention in artistic circles and among Iran today and has been the subject of many conversations is the issue of Iranian graphics. In this research, the functional and practical aspects of Iranian painting as a visual-identity language in Iranian graphics have been investigated by relying on Iranian cultural and social posters in order to gain an understanding of the trend of contemporary graphic art in Iran and to help us reach the identity of graphics. In order to arrive at Iranian graphics, first, the issue of identity and what it is has been examined, and then this category has been addressed in Iran and throughout the history of this country in order to reveal the characteristics of the identity that has come to us today under the name of Iranian identity cognition. In the following, the search for Iranian identity in the art of this land, especially the art of painting, and then the art of contemporary painting and the search for identity in it have been discussed. After that, Iranian identity has been investigated in Iranian graphics. To understand Iranian graphics, after a brief description of its contemporary history, this art is examined at the considered time point. By using the inductive method of examining the posters of each course and taking into account the related cultural and social conditions, we tried to get a general and comprehensive understanding of the graphic features of each course. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iranian%20painting" title="Iranian painting">Iranian painting</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20visual%20language" title=" graphic visual language"> graphic visual language</a>, <a href="https://publications.waset.org/abstracts/search?q=Iranian%20identity" title=" Iranian identity"> Iranian identity</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20cultural%20poster" title=" social cultural poster"> social cultural poster</a> </p> <a href="https://publications.waset.org/abstracts/185508/examining-the-functional-and-practical-aspects-of-iranian-painting-as-a-visual-identity-language-in-iranian-graphics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185508.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">51</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">169</span> Artistic Themes in War Related Comics Contributing to the Portrayal of Sociopolitical Accounts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rachel-Kate%20Bowdler">Rachel-Kate Bowdler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Wartime efforts, news, and heroic stories are important to the public in understanding the political climate, yet hard to digest. However, graphic novels are able to portray intense sociopolitical themes and reinvent the account for the public. Modern comics centered around war introduces the historical context to new audiences, thus keeping history relevant and remembered. This is a trend in graphic novels that is popular for expressing wartime and political stories. Graphic novels make historical accounts and stories easier to understand and more enjoyable to read through creative expression and stylistic choices like color, design, and personified depictions of characters. This results in the need to analyze intense wartime themes in terms of artistic style and elements contributing to the portrayal of the story. Whether directly or indirectly, comics became an outlet for discussing and portraying wars, especially following World War II. It may also be relevant that comics are influential in attitudes towards war efforts. in conducting in analysis on comic books relating to war time stories and a literature review, this paper will seek to analyze the role that comics play in the dissemination of information and feelings surrounding war efforts and attitudes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20style" title="artistic style">artistic style</a>, <a href="https://publications.waset.org/abstracts/search?q=comics" title=" comics"> comics</a>, <a href="https://publications.waset.org/abstracts/search?q=historical" title=" historical"> historical</a>, <a href="https://publications.waset.org/abstracts/search?q=war" title=" war"> war</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20and%20culture" title=" art and culture"> art and culture</a>, <a href="https://publications.waset.org/abstracts/search?q=journalism%20and%20media" title=" journalism and media"> journalism and media</a> </p> <a href="https://publications.waset.org/abstracts/157298/artistic-themes-in-war-related-comics-contributing-to-the-portrayal-of-sociopolitical-accounts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157298.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">111</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">168</span> A Study on the Non-Destructive Test Characterization of Carbon Fiber Reinforced Plastics Using Thermo-Graphic Camera</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hee%20Jae%20Shin">Hee Jae Shin</a>, <a href="https://publications.waset.org/abstracts/search?q=In%20Pyo%20Cha"> In Pyo Cha</a>, <a href="https://publications.waset.org/abstracts/search?q=Min%20Sang%20Lee"> Min Sang Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Hyun%20Kyung%20Yoon"> Hyun Kyung Yoon</a>, <a href="https://publications.waset.org/abstracts/search?q=Tae%20Ho%20Kim"> Tae Ho Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Yoon%20Sun%20Lee"> Yoon Sun Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Lee%20Ku%20Kwac"> Lee Ku Kwac</a>, <a href="https://publications.waset.org/abstracts/search?q=Hong%20Gun%20Kim"> Hong Gun Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Non-destructive testing and evaluation techniques for assessing the integrity of composite structures are essential to both reduce manufacturing costs and out of service time of transport means due to maintenance. In this study, Analyze into non-destructive test characterization of carbon fiber reinforced plastics(CFRP) internal and external defects using thermo-graphic camera and transient thermography method. non-destructive testing were characterized by defect size(∅8,∅10,∅12,∅14) and depth(1.2mm,2.4mm). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Non-Destructive%20Test%20%28NDT%29" title="Non-Destructive Test (NDT)">Non-Destructive Test (NDT)</a>, <a href="https://publications.waset.org/abstracts/search?q=thermal%20characteristic" title=" thermal characteristic"> thermal characteristic</a>, <a href="https://publications.waset.org/abstracts/search?q=thermographic%20camera" title=" thermographic camera"> thermographic camera</a>, <a href="https://publications.waset.org/abstracts/search?q=Carbon%20Fiber%20Reinforced%20Plastics%28CFRP%29." title=" Carbon Fiber Reinforced Plastics(CFRP)."> Carbon Fiber Reinforced Plastics(CFRP).</a> </p> <a href="https://publications.waset.org/abstracts/20078/a-study-on-the-non-destructive-test-characterization-of-carbon-fiber-reinforced-plastics-using-thermo-graphic-camera" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20078.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">536</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">167</span> The Family Resemblance in the Handwriting of Painters: Jacek and Rafał Malczewski’s Case</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olivia%20Rybak-Karkosz">Olivia Rybak-Karkosz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to present the results of scientific research on family resemblance in the handwriting of painters. Such a problem is known in handwriting analysis, but it was never a research subject in the scope of painters' signatures on works of art. For this research, the author chose Jacek, and Rafał Malczewski (father and son) as many of their paintings are in museums, and most of them are signed. The aim was to create a catalogue of traits similar to the handwriting of both artists. Such data could be helpful for the expert’s opinion in the decision-making process to establish whether the signature is authentic and, if so, whether it is the artist whose signature is analysed, not the other family member. There are known examples of relatives of the artists who signed their works. Many of them were artists themselves. For instance Andrzej Wróblewski’s mother, Krystyna was a printmaker. To save his legacy, she signed many of her son’s works after his death using his name. This research methodology consisted of completing representative samples of signatures of both artists, which were collected in selected Polish museums. Then a catalogue of traits was created using a forensic handwriting graphic-comparative method (graphic method). The paper contains a concluding statement that it could be one of the elements of research in an expert’s analysis of the authenticity of the signature on paintings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%E2%80%99s%20signatures" title="artist’s signatures">artist’s signatures</a>, <a href="https://publications.waset.org/abstracts/search?q=authenticity%20of%20an%20artwork" title=" authenticity of an artwork"> authenticity of an artwork</a>, <a href="https://publications.waset.org/abstracts/search?q=forensic%20handwriting%20analysis" title=" forensic handwriting analysis"> forensic handwriting analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic-comparative%20method" title=" graphic-comparative method"> graphic-comparative method</a> </p> <a href="https://publications.waset.org/abstracts/152838/the-family-resemblance-in-the-handwriting-of-painters-jacek-and-rafal-malczewskis-case" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152838.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">84</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">166</span> Graphic Calculator Effectiveness in Biology Teaching and Learning</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nik%20Azmah%20Nik%20Yusuff">Nik Azmah Nik Yusuff</a>, <a href="https://publications.waset.org/abstracts/search?q=Faridah%20Hassan%20Basri"> Faridah Hassan Basri</a>, <a href="https://publications.waset.org/abstracts/search?q=Rosnidar%20Mansor"> Rosnidar Mansor</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the study is to find out the effectiveness of using Graphic calculators (GC) with Calculator Based Laboratory 2 (CBL2) in teaching and learning of form four biology for these topics: Nutrition, Respiration and Dynamic Ecosystem. Sixty form four science stream students were the participants of this study. The participants were divided equally into the treatment and control groups. The treatment group used GC with CBL2 during experiments while the control group used the ordinary conventional laboratory apparatus without using GC with CBL2. Instruments in this study were a set of pre-test and post-test and a questionnaire. T-Test was used to compare the student’s biology achievement while a descriptive statistic was used to analyze the outcome of the questionnaire. The findings of this study indicated the use of GC with CBL2 in biology had significant positive effect. The highest mean was 4.43 for item stating the use of GC with CBL2 had saved collecting experiment result’s time. The second highest mean was 4.10 for item stating GC with CBL2 had saved drawing and labelling graphs. The outcome from the questionnaire also showed that GC with CBL2 were easy to use and save time. Thus, teachers should use GC with CBL2 in support of efforts by Malaysia Ministry of Education in encouraging technology-enhanced lessons. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biology%20experiments" title="biology experiments">biology experiments</a>, <a href="https://publications.waset.org/abstracts/search?q=Calculator-Based%20Laboratory%202%20%28CBL2%29" title=" Calculator-Based Laboratory 2 (CBL2)"> Calculator-Based Laboratory 2 (CBL2)</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20calculators" title=" graphic calculators"> graphic calculators</a>, <a href="https://publications.waset.org/abstracts/search?q=Malaysia%20Secondary%20School" title=" Malaysia Secondary School"> Malaysia Secondary School</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching%2Flearning" title=" teaching/learning"> teaching/learning</a> </p> <a href="https://publications.waset.org/abstracts/4230/graphic-calculator-effectiveness-in-biology-teaching-and-learning" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4230.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">403</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">165</span> Developing Artistic Concepts for Kindergarten Children in Egypt Using Graphic Activities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mona%20Yacoub">Mona Yacoub</a>, <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Amin%20Mousa"> Ahmed Amin Mousa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The current work presents a program for children in Egypt. This program involved a collection of artistic activities that purposes to improve some language, artistic skills of kindergarten children. The researchers have prepared a questionnaire for the link between the target group and the content. The questionnaire has been presented to experts for adjudicating. The program was applied to a group of 30 children. Another questionnaire has been prepared by the researchers for measuring the activities’ effect on the children. The second questionnaire was considered as the pre-test and post-test. Finally, after applying the activities and the questionnaire, the researchers detected a significant difference in favor of the post-test results. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Developing" title="Developing">Developing</a>, <a href="https://publications.waset.org/abstracts/search?q=concepts" title=" concepts"> concepts</a>, <a href="https://publications.waset.org/abstracts/search?q=kindergarten" title=" kindergarten"> kindergarten</a>, <a href="https://publications.waset.org/abstracts/search?q=children" title=" children"> children</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20activities" title=" graphic activities"> graphic activities</a> </p> <a href="https://publications.waset.org/abstracts/114297/developing-artistic-concepts-for-kindergarten-children-in-egypt-using-graphic-activities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114297.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">161</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">164</span> Development of Automatic Laser Scanning Measurement Instrument</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chien-Hung%20Liu">Chien-Hung Liu</a>, <a href="https://publications.waset.org/abstracts/search?q=Yu-Fen%20Chen"> Yu-Fen Chen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study used triangular laser probe and three-axial direction mobile platform for surface measurement, programmed it and applied it to real-time analytic statistics of different measured data. This structure was used to design a system integration program: using triangular laser probe for scattering or reflection non-contact measurement, transferring the captured signals to the computer through RS-232, and using RS-485 to control the three-axis platform for a wide range of measurement. The data captured by the laser probe are formed into a 3D surface. This study constructed an optical measurement application program in the concept of visual programming language. First, the signals are transmitted to the computer through RS-232/RS-485, and then the signals are stored and recorded in graphic interface timely. This programming concept analyzes various messages, and makes proper presentation graphs and data processing to provide the users with friendly graphic interfaces and data processing state monitoring, and identifies whether the present data are normal in graphic concept. The major functions of the measurement system developed by this study are thickness measurement, SPC, surface smoothness analysis, and analytical calculation of trend line. A result report can be made and printed promptly. This study measured different heights and surfaces successfully, performed on-line data analysis and processing effectively, and developed a man-machine interface for users to operate. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=laser%20probe" title="laser probe">laser probe</a>, <a href="https://publications.waset.org/abstracts/search?q=non-contact%20measurement" title=" non-contact measurement"> non-contact measurement</a>, <a href="https://publications.waset.org/abstracts/search?q=triangulation%20measurement%20principle" title=" triangulation measurement principle"> triangulation measurement principle</a>, <a href="https://publications.waset.org/abstracts/search?q=statistical%20process%20control" title=" statistical process control"> statistical process control</a>, <a href="https://publications.waset.org/abstracts/search?q=labVIEW" title=" labVIEW"> labVIEW</a> </p> <a href="https://publications.waset.org/abstracts/7492/development-of-automatic-laser-scanning-measurement-instrument" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7492.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">360</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">163</span> Creation of a Realistic Railway Simulator Developed on a 3D Graphic Game Engine Using a Numerical Computing Programming Environment</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kshitij%20Ansingkar">Kshitij Ansingkar</a>, <a href="https://publications.waset.org/abstracts/search?q=Yohei%20Hoshino"> Yohei Hoshino</a>, <a href="https://publications.waset.org/abstracts/search?q=Liangliang%20Yang"> Liangliang Yang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Advances in algorithms related to autonomous systems have made it possible to research on improving the accuracy of a train’s location. This has the capability of increasing the throughput of a railway network without the need for the creation of additional infrastructure. To develop such a system, the railway industry requires data to test sensor fusion theories or implement simultaneous localization and mapping (SLAM) algorithms. Though such simulation data and ground truth datasets are available for testing automation algorithms of vehicles, however, due to regulations and economic considerations, there is a dearth of such datasets in the railway industry. Thus, there is a need for the creation of a simulation environment that can generate realistic synthetic datasets. This paper proposes (1) to leverage the capabilities of open-source 3D graphic rendering software to create a visualization of the environment. (2) to utilize open-source 3D geospatial data for accurate visualization and (3) to integrate the graphic rendering software with a programming language and numerical computing platform. To develop such an integrated platform, this paper utilizes the computing platform’s advanced sensor models like LIDAR, camera, IMU or GPS and merges it with the 3D rendering of the game engine to generate high-quality synthetic data. Further, these datasets can be used to train Railway models and improve the accuracy of a train’s location. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=3D%20game%20engine" title="3D game engine">3D game engine</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20geospatial%20data" title=" 3D geospatial data"> 3D geospatial data</a>, <a href="https://publications.waset.org/abstracts/search?q=dataset%20generation" title=" dataset generation"> dataset generation</a>, <a href="https://publications.waset.org/abstracts/search?q=railway%20simulator" title=" railway simulator"> railway simulator</a>, <a href="https://publications.waset.org/abstracts/search?q=sensor%20fusion" title=" sensor fusion"> sensor fusion</a>, <a href="https://publications.waset.org/abstracts/search?q=SLAM" title=" SLAM"> SLAM</a> </p> <a href="https://publications.waset.org/abstracts/195390/creation-of-a-realistic-railway-simulator-developed-on-a-3d-graphic-game-engine-using-a-numerical-computing-programming-environment" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/195390.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">4</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">162</span> Metaphors of Love and Passion in Lithuanian Comics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saulut%C4%97%20Juzel%C4%97nien%C4%97">Saulutė Juzelėnienė</a>, <a href="https://publications.waset.org/abstracts/search?q=Skirmant%C4%97%20%C5%A0arkauskien%C4%97"> Skirmantė Šarkauskienė</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, it is aimed to analyse the multimodal representations of the concepts of LOVE and PASSION in Lithuanian graphic novel “Gertrūda”, by Gerda Jord. The research is based on the earlier findings by Forceville (2005), Eerden (2009) as well as insights made by Shihara and Matsunaka (2009) and Kövecses (2000). The domains of target and source of LOVE and PASSION metaphors in comics are expressed by verbal and non-verbal cues. The analysis of non-verbal cues adopts the concepts of rune and indexes. A pictorial rune is a graphic representation of an object that does not exist in reality in comics, such as lines, dashes, text "balloons", and pictorial index – a graphically represented object of reality, a real symptom expressing a certain emotion, such as a wide smile, furrowed eyebrows, etc. Indexes are often hyperbolized in comics. The research revealed that most frequent source domains are CLOSINESS/UNITY, NATURAL/ PHYSICAL FORCE, VALUABLE OBJECT, PRESSURE. The target is the emotion of LOVE/PASSION which belongs to a more abstract domain of psychological experience. In this kind of metaphor, the picture can be interpreted as representing the emotion of happiness. Data are taken from Lithuanian comic books and Internet sites, where comics have been presented. The data and the analysis we are providing in this article aims to reveal that there are pictorial metaphors that manifest conceptual metaphors that are also expressed verbally and that methodological framework constructed for the analysis in the papers by Forceville at all is applicable to other emotions and culture specific pictorial manifestations. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multimodal%20metaphor" title="multimodal metaphor">multimodal metaphor</a>, <a href="https://publications.waset.org/abstracts/search?q=conceptual%20metaphor" title=" conceptual metaphor"> conceptual metaphor</a>, <a href="https://publications.waset.org/abstracts/search?q=comics" title=" comics"> comics</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20novel" title=" graphic novel"> graphic novel</a>, <a href="https://publications.waset.org/abstracts/search?q=concept%20of%20love%2Fpassion" title=" concept of love/passion"> concept of love/passion</a> </p> <a href="https://publications.waset.org/abstracts/164221/metaphors-of-love-and-passion-in-lithuanian-comics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164221.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">67</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=graphic%20novel&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=graphic%20novel&page=3">3</a></li> <li class="page-item"><a class="page-link" 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