Graphic Design

“This work is a part of the delft protocols workshop which is an international gathering of experts on design research. the objective is to study the behaviours of designers using techniques of cognitive psychology in general and protocol analysis in particular. the purpose of this paper is to explore the relationship between visual-graphic data processing and novel design ideas. several analyses dealing with verbal-conceptual and visual-graphic data have been conducted, and the relationships between design activities and design decisions have been explored. the findings indicate that phases of the design process and the activities correlate with key design decisions. © 1995.”

“Predicting the binding mode of flexible polypeptides to proteins is an important task that falls outside the domain of applicability of most small molecule and protein−protein docking tools. here, we test the small molecule flexible ligand docking program glide on a set of 19 non-α-helical peptides and systematically improve pose prediction accuracy by enhancing glide sampling for flexible polypeptides. in addition, scoring of the poses was improved by post-processing with physics-based implicit solvent mm- gbsa calculations. using the best rmsd among the top 10 scoring poses as a metric, the success rate (rmsd ≤ 2.0 å for the interface backbone atoms) increased from 21% with default glide sp settings to 58% with the enhanced peptide sampling and scoring protocol in the case of redocking to the native protein structure. this approaches the accuracy of the recently developed rosetta flexpepdock method (63% success for these 19 peptides) while being over 100 times faster. cross-docking was performed for a subset of cases where an unbound receptor structure was available, and in that case, 40% of peptides were docked successfully. we analyze the results and find that the optimized polypeptide protocol is most accurate for extended peptides of limited size and number of formal charges, defining a domain of applicability for this approach.”

“Originally published in french in 1967, semiology of graphics is internationally recognized as a foundational work in the fields of design and cartography. based on jacques bertin’s practical experience as a cartographer, part one of this work is an unprecedented attempt to synthesize principles of graphic communication with the logic of standard rules applied to writing and topography. part two brings bertin’s theory to life, presenting a close study of graphic techniques, including shape, orientation, color, texture, volume, and size, in an array of more than 1,000 maps and diagrams. now, with a new epilogue written by the author shortly before his death, this new 2010 edition in english reawakens us to the information design possibilities of modern technology. jacques bertin was a french cartographer and theorist, and a world renowned authority on the subject of information visualization. in 1954, he founded the cartographic laboratory of the ecole pratique des hautes etudes, and in 1957 he was named director of education. in 1967, bertin became a professor at the sorbonne, and in 1974 he was appointed director of education and director of the geographical laboratory of the ecole des hautes etudes en sciences sociales. in the late 1970s, he became head of research at the centre national de la recherche scientifique.”

“Data visualization combines principles from psychology, usability, graphic design, and statistics to highlight important data in accessible and appealing formats. doing so helps bridge knowledge producers with knowledge users, who are often inundated with information and increasingly pressed for time.”

“Thearticle reviews studies that explain the role of graphical displays in learning and synthesizes relevant findings into principles for effective graphical design. three theoretical perspectives provide the framework that organizes the re- view: dual coding theory, visual argument, and conjoint retention. the three theories are compatible although they are based on different assumptions. research suggests that graphics are effective learning tools only when they allow readers to interpret and integrate information with minimum cognitive processing. learners’ characteristics, such as prior subject-matter knowledge, visuospatial ability, and strategies, influence graphic processing and interact with graphical design to mediate its effects. future research should investigate the interplay between display and learner characteristics and how graphical design can address individual differences in learning from graphics.”

“This paper argue that there is a strong and undeniable link between gestalt psychology and the teaching of art and design in the early part of the twentieth century, specifically the work of gyorgy kepes in the language of vision. it maintains that gestalt is a complex discipline with diverse philosophical, scientific and social orientations. gestalt psychology emerges at an exciting historical moment, when a diverse range of voices, interests and disciplines collide. the work of gyorgy kepes can be usefully re-read in the context of this collision, whereby gestalt can take many turns: scientific, humanistic, mechanistic and therapeutic. the diverse individuals, institutions and ideas – discussed under the nomenclature of gestalt – are linked by a shared interest in experiments with perception and making direct observations from human experience. in spite of these connections, however, gestalt has been consistently characterised – within the field of graphic design history and theory – as a unitary science with abstract and unchanging laws. this paper demonstrates that such a reading of gestalt is grossly oversimplified; it is an interpretation that is predicated on the practice of taking gestalt theory out of its original (and ongoing) contexts. as roy behrens and mitchell g. ash have shown, gestalt is a populated and variegated theory, one that has humanistic, as well as experimental aspects. this paper adds to this reappraisal of gestalt by re-visiting and re-reading the texts of its early pioneers, specifically those by max wertheimer and kurt koffka. their work demonstrates a strong interest in social, historical and therapeutic relations, in a way that overturns the dominant reading of gestalt as an ‘autonomous’ scientific theory. as the work of gyorgy kepes further reveals, gestalt is about people (not just forms) and human tendencies (not just spontaneous brain functions), if only it were reinterpreted in this way.”