جستجوی مقالات مرتبط با کلیدواژه "کتاب تصویری" در نشریات گروه "هنر و معماری"

Letters serve as symbols within both linguistic and visual sign systems, yet their visual characteristics often become overshadowed by their linguistic functions during the reading process. A key role of typography is to rejuvenate the visual essence of written text. Typography not only enhances the aesthetic appeal but also contributes to the interpretive understanding of the text. This study aims to categorise graphic techniques that forge a meaningful connection between the visual presentation of words and their linguistic meanings. Techniques such as estrangement and defamiliarization are of particular interest to formalist scholars. Typography naturally emphasises these techniques through its ability to highlight and make the familiar unfamiliar, thus a formalist perspective has been utilised to explore this topic. This paper investigates how prevalent graphic elements in typography can induce visual defamiliarization, employing the concept of "device" as defined by Shklovsky to denote methods of aesthetic creation within texts. Employing an analytical-descriptive methodology, this research focuses on picture books for specific age categories "A" and "B," selected intentionally. Consequently, books selected for analysis have titles on their covers or title pages that rely heavily on typographic design, either in Persian or other languages, from a collection of one hundred and ten titles for the specified age groups. From this, ninety-seven titles were chosen, and the typographic formalist techniques of eighteen titles are scrutinized within this paper. The study seeks to address two primary questions regarding the typography of children's book titles: 1) What formal devices are employed to generate calligram meanings within the text? 2) How are these formal devices further categorized?The motivation for this research stems from the observation that children have a stronger connection with visual language than with written language, and while the incorporation of visual elements in children's literature is widespread, there is still a notable deficiency in comprehensive research within this domain. The findings of this study indicate that the typography in children's literature can be dissected through an array of formal aspects. This document categorises these formal aspects of typography based on various criteria: the degree of defamiliarization, the functions of the paradigmatic and syntagmatic axes, the levels of intertextuality and independence, the density of visual spacing between characters, and the contextual relevance of letters. This classification aims to streamline the teaching of typography to students and assist researchers in the comparative art fields with their analysis of artistic works.Fundamentally, typography is predicated on the concept of defamiliarization. This research delineates three principal forms of defamiliarization encountered in the typographic titles of children's books: "local," "global gestalt," and "global distributive." a) Local defamiliarization entails the visual alteration of a specific part of the text, endowing it with an iconic function without altering all components of the text. b) Global gestalt defamiliarization converts the overall gestalt, or the entire typographic representation, into an iconic signifier, rather than merely a portion. For example, in "A Crow Like a Crow" (Khodaei, 2009), the full typographic depiction of the word "crow" visually represents a crow. Pic 1. A Crow Like a Crow (Khodaei, 2009) c) In global distributive defamiliarization, calligram elements are not confined to a specific location (such as a single letter or word); instead, they are dispersed across the entirety or most of the letters in the typographic composition. Another method for producing iconic representations of symbolic elements in language utilises both the paradigmatic and syntagmatic axes. For generating calligram significance, typography adopts three approaches involving these axes: substituting a paradigmatic iconic signifier for a symbolic one, replacing a paradigmatic symbolic signifier with an iconic one, and integrating a syntagmatic iconic signifier with a symbolic signifier.a) Replacing a symbolic signifier with a paradigmatic iconic signifier: According to Saussure, the paradigmatic relationship is characterized by the ability to interchange linguistic elements. For example, replacing the letter "O" in "love" with an "I" transforms the word into a new linguistic entity, "live." This principle of paradigmatic substitution is also applicable in typography through the exchange of linguistic-artistic elements. For instance, instead of the letter "O," which is a symbolic (linguistic) signifier, one can employ the image of a heart, which acts as an iconic (visual) signifier (pic 2). Consequently, this linguistic-artistic signifier assumes both iconic and linguistic roles. It visually represents the concept of the heart (as a symbol of love), while linguistically, it stands in for the letter "O." Pic 2. 1ove Can Come in Many Ways (Pierce, 2020) b) Replacing an iconic signifier with a paradigmatic symbolic signifier: In this instance, a sequence of letters replaces a portion of the illustration. Often in iconography, letters assume the role of the entire image. For example, the cover of Das ABC-Spielebuch (Berner, 2010) showcases a cat illustration, wherein its abdomen is ingeniously substituted with a series of alphabet letters (pic 3). Pic 3. Das ABC-Spielebuch (Berner, 2010) c) In typographies that utilise the syntagmatic axis, introducing an iconic signifier does not remove the symbolic signifier; rather, they both exist adjacent to each other, jointly conveying meaning.Regarding intertextuality, the calligrams of the typographic title are classified into three types: image-adjacent inadequacy, image-intertwined inadequacy, and self-sufficient calligrams.a) In image-adjacent calligrams, the image is affixed to the text.b) In image-intertwined calligrams, the typography integrates into a larger image and is interlaced throughout the image's structure.c) In self-sufficient calligrams, the calligram may be mono-media, meaning it exclusively employs the writing system without relying on visual media for its typography.Typographers occasionally craft calligrams by modifying the ratio of letter density to texture. This ratio of letter density to texture is categorised into three types: positive density dominance, negative density dominance, and non-dominance.a) Positive density dominance: The existence of textual content necessitates a backdrop or context. Adhering to the gestalt principle (the figure-ground perception), the dominance of positive space can be observed in two primary areas: within the text characters themselves and their surrounding background. This dominance of positive space within the characters serves to enhance the visibility of the typographic design. In (Karsten, 2019) AaaHHH, the positive density of the letters is achieved through a diverse and varied selection of fonts, thereby highlighting the typography. The book delves into environmental concerns, with a particular focus on the issue of noise pollution in urban settings. Consequently, the typographer has depicted the concept of sound pressure throughout the book by employing the density and variety of fonts for the letters A and H. Moreover, italicizing these letters symbolically represents the direction of the sound pressure (emanating outward from the book). Pic 4. AaaHHH (Karsten, 2019)  In instances where there is a dominance of positive density at the background level, the contrast created between a cluttered texture and a sparsely written phrase can result in the typographic expression becoming prominent.b) Negative Density Dominance: Negative space effectively emphasises typography across two dimensions: at the level of the letters (figure) and the background level (ground). The emphasis at the letter level is achieved by creating a sense of openness and increasing tracking (the overall spacing between letters). When negative density dominates the background, a sparse texture or a contrasting colour tone to the typographic phrase highlights the text.c) Non-dominance: In this context, neither positive nor negative spaces take precedence. This lack of dominance presents itself in two variations: bipolar absence and uniform absence. In the case of bipolar absence, the typographic phrase is divided into two parts. Each segment exhibits localized dominance of either positive or negative space; however, from a gestalt perspective, no dominance prevails. In "How Big Is the World?" (Teckentrup, 2012), the title spans two lines. "World" stands alone on the upper line, with the rest of the words positioned below. The expansive open space surrounding the single word "World" in the title's first line, juxtaposed with the dense arrangement of words in the second line, creates a bipolar density of space. The objective of this bipolar spatial configuration is to visually convey the attribute of "largeness" for the word "world." Pic 5. How Big Is the World? (Teckentrup, 2012) In the context of homogeneous non-dominance, there is a balance between positive and negative spaces around letters, visible in segments and throughout the text. This differs from bipolar non-dominance, where local dominance doesn't affect the overall composition. Homogeneous non-dominance lacks both local and global dominance. As per the figure-ground principle, written content can be both foreground and background. Typography may serve as a backdrop rather than just text, with legible or illegible textures. In "I am the Eighth of Those Seven" (Nazar Ahari, 2012), typography is crucial for texture and spatial dynamics. Children's book covers showcase graphic arts and typography, serving as marketing tools and artworks connecting readers to the narrative. This study suggests that innovative typography results from changing textual structures based on visual elements.

Considering that children up to the age of twelve are cognitively anthropomorphic, therefore, children's literature without personification is unbelievable to them. Zoltan Kovecses, a cognitive linguist, considers personification to be one of the types of conceptual metaphors. In children's stories, Speaking animals or objects who talk, think, or behave like humans are all anthropomorphic. In the other word, personification is a type of figurative language in which nonhuman things are given human qualities. The intensity of the projection of these human traits (or so-called degree of anthropomorphism) is not necessarily the same for all characters in the story. In picture books, images can objectify the degree of anthropomorphism of characters. Different degrees of anthropomorphism of characters can create potentially different readings for the text. The purpose of this study is to investigate the cognitive function of this plotter array in the characterization of children's illustrated stories. In this regard, the present study, by descriptive analytical method, seeks to the procedure for representing the interaction of characters, according to their degree of anthropomorphism. Because in children's stories, a large part of the personification is objectified in the form of images; Therefore, it is necessary to consider the interactive role of the image along with the bold role of words. The novelty of the present paper is that, first, it examines the personification as a scaled continuum (from the upgrading of an object or animal to a human to the metamorphosis of a human into an object or animal); Second, it studies this non-figures plot creator in the context of visual cryptography. The research questions are: 1- personification is formed in the context of what sign systems? 2- It is graded on which scales and in what way? 3- What is the difference between homogeneous and heterogeneous personification? 4. How do images alienate and depersonalize the characters in the story? The research shows that personification is a graded array, and its intensity can estrange each character in the community in which they play a role. In addition, images play a direct role, in increasing the degree of anthropomorphism and indirectly in the foreignization and domestication of characters. The author has not yet seen a study that examines the interaction of varying degrees of subjectivity in children's stories. The method of data collection is library and purposeful. The research method is inductive. In inductive research strategy, theory includes generalizations that are obtained by induction from data. Therefore, research is concerned with constructing and addressing a theory that begins with data collection and ends with abstract descriptions of the patterns in the data. In this regard, first, the media that are the conduit for the realization of the personification array are categorized; The mentioned array is then examined as a graduated continuum, in terms of intertextuality and intra-textuality, and its subsets are morphologized in each of the two mentioned levels.

Picture books for children cover a wide range of topics, one of which is to introduce and present the ways in which children are confronted with difficult concepts of life, such as the concept of death and the loss of loved ones. Death is a reality which most human beings no matter young or old, experience it and this event confronts human with new conditions of life that clearly affect children. Reading books on how to deal with the tragic events of life helps children to gain a deeper understanding of the tragedy after experiencing it and to return to a normal life after overcoming the crisis and accepting it. The synchronization of text and image in picture books, each of which deals with the subject in a way that is ultimately provided to the audience in the form of an integrated whole as a picture book, can be one of the effective ways to help the child audience get out of this bottleneck.Helping children requires knowing how children think and process information. One of the ways to help them includes reading books containing topics and pictures on the subject of death. A picture book is a template that can hold all kinds of children's literature. The picture book is not just for children, but in today's illustrated world, adults also enjoy their own picture book; but the content of the children's picture book covers the whole range of children's literature, and at the same time the structure and form of its presentation is diverse and diverse.This study examines picture books with the concept of death published in Iran and answers the question that what methods do fiction books use to convey the concept of death to children? The present study, which is applied in terms of purpose and qualitative in terms of the nature of data, has studied descriptive-analytical picture books with the theme of death published in Iran. Information is collected in the form of libraries and documents (articles, books, reputable online resources and picture books for children). In the initial surveys, 46 picture fiction books (authored and translated) on the subject of death for children were identified, which were published in Persian between 2003 and 2020. Among them, six titles have been written and forty titles have been translated from non-Persian texts. In the leading research, first the concept of death and then mourning for children aged 7 to 12 years has been studied. In the following, two picture books with the theme of death, created by one artist as an author and an illustrator, are examined. The selection of these two books has been purposeful and according to the different approaches of the artists towards the subject of death.The two picture books examined in this study are the book "Duck, Death and Tulip" written and illustrated by Wolf Erlbruch, German illustrator and author and creator of picture books, and translated by Mahsā Mohammad Hosseini and Farzāneh Shahrtāsh from Shahrtāsh Publications (2018) and the other book titled Death on the Apple Tree is written and illustrated by Kathrin Schärer as the author and illustrator, and translated by Parvāneh Oroujniā (2017).In the studied works, an attempt has been made to acquaint the audience with the phenomenon of death and to make death a part of natural life. That the child has the right to grieve in the absence of the deceased and to mourn in various ways. The use of animal characters in books is aimed at better understanding the audience and embracing a reality that may be disturbing to this audience which is the child age group. Many children have pets or have encountered animals that may die. In this way, animals in the child's mind replace humans and people around them. Another common feature of the books is at the end of the story. That death is part of the nature of the life of every creature that breathes. In fact, the moment a person is born, his death is born with him. The story is about companionship and empathy with the child, as life goes on after the death of a loved one, and mourning must end somewhere. While the memory of the deceased will never be lost; but the child must return to normal interests and routines. The image next to the text helps to better understand this content. In many cases, the image complements and expands the text.The atmosphere of solitude is with the greatest emphasis on the main character, the mourning character or the character involved in death. Sometimes the lighting of the scenes is such that all the audience's attention is focused on the main character. It seems that these empty and often monotonous spaces are a way to create suspense in space and better understand the loneliness of the mourning character by the audience. From the beginning, the child is faced with a normal life in the story, it continues with the main character until it is time for the mourning to end and the child learns that death is an integral part of life. In both books, Death accompanies the main character as a calm and patient friendship instead of a direct confrontation. Until the time comes for the subject to travel with the death phenomenon. Then the audience will find out what the consequences of immortality can have. The coloring in the two books reviewed is a bit bright. Finally, all samples try to reduce the fear of death and express the inseparability of death from life. Their stories and images accompany the audience to take them to the stage of accepting and overcoming this fear.

Statement of problem and study questions: Brown and Atkins have defined education as the providing of opportunities for the student's learning. According to Jean Piaget, the famous Swiss psychologist, creation is the primary goal of education and upbringing, especially by human beings who are creative, discoverer, and able in the performance of novel tasks. The prerequisite for the implementation of this process is purposeful education since childhood. Moreover, the growth of educational centers is one of the goals of education officials worldwide. The actualization of this goal needs the active presence of the students and their interestedness in studying. The creation of such a habit as book-reading from childhood is one of the necessities thereof. Assisted by various instruments, including pictorial books, it becomes possible to create proper experiences for this age group. The non-proportion of the books with the children is one problem existent on the path of creative growth in the educational environments. Nowadays, children and adolescents’ lack of interest in studying has caused their inclination towards the ancillary media. Getting used to studying since childhood employing pictorial books can be promising in this regard. One of the important goals of art production is communication with the audience. It is of great importance to pay attention to the type of expression used by the artist for conveying his or her message. The graphical design plays an effective role in the success of the artworks. The structuring and proper use of the visual regulations would contribute to the facilitation of the transferring of information to the addressees and reduction of the content learning difficulty. Paying attention to the books’ appearances, including the proper selection of their parts, would instigate interests in the students in studying and their educational growth. The creation of the visual diversity and application of uncommon parts would cause the attraction of the addressees and there are different notions by the various classes about these books. The question is that what factors can influence the selection of parts of the pictorial books in Iran from the perspective of the trainers and teachers of the children and adolescents? Furthermore, it has to be seen how important are factors like subject, story setting, apparent form, duration of use, number of pages, color, and design. The present field research and scientific-statistical study aim at finding the factors influencing the selection of parts of the children and adolescents’ pictorial books and the degree of their importance and expressing and suggesting defamiliarization in the book parts according to the notions and ideas of the children and adolescents’ trainers and teachers. The necessity of this research is offering a new solution for the growth of the educational centers, designers, trainers and teachers of the educational centers, education organization’s managers, and all the individuals involved in the expansion of the culture of book reading. In line with this and after the expressing of the study method, the importance of the audience’s age conditions will be dealt with for book designing in the section on the “theoretical foundations”. Then, solutions will be presented regarding how to get the children to habitually read books. In the end, the findings of the authors’ field research about the factors influencing the selection of parts of the children and adolescents’ pictorial books from the perspective of their trainers as well as the inferred results will be offered. Study

the present study is applied research in terms of the objective; in regard to the author’s rate of control on the study variables, the study is non-experimental, descriptive, and causal or retrospective research. The study is to be considered as a sort of case study because the study population of this field research included the trainers and teachers of Iran’s children and adolescents. After acquiring information from an education organization, one individual was randomly selected from amongst the elite teachers and trainers of the country in each province. The information-gathering method is library and field research. In addition, note-taking and a Delphi technique-based standardized questionnaire were utilized. The acquired data were analyzed in two descriptive and inferential forms. The substantial parts used in the descriptive statistics are with the use of tables of frequency and various diagrams. In inferential statistics, use has been made of Kolmogorov-Smirnov test and one-sample independent t-test as well as Friedman test.

the use of appropriate tools like a book for the education of children and adolescents would exert a considerable effect on making them interested in studying. This can cause educational growth in the educational centers and schools. More successful schools are more adored by the parents and students for their progress indices are increased over time. In between, the use of different methods such as informing the families about the importance of book-reading in school sessions as well as in mass media, intra-family activities such as studying part of life and group-reading in-home, formation of students’ interest-based book-reading groups, saddlebag library design, the opening of bookstores and exhibitions in the schools of cities and villages and increase in the hours of studying and book-reading are all suggestions for the expansion of this culture. Moreover, the use of new lullabies from the new books, reading of the comic and gamebooks, watching films the books of which have been read by the children, reading loud and free studying are amongst the other solutions in this regard. Different books should be selected for various age groups and the books must be selected according to their verbal growth. The gamebooks with simpler images that stimulate the five senses are more appropriate for preschool. On the path of growth, the interests in scientific-fictitious books are increased. So, the proportion between the content and appearance of the book with the age condition is of great importance. The selection of the proper book causes interest or disinterest in studying. The application of the uncommon book formats in proportion to the content helps to attract the audience to study. Consideration of the society of teachers' and trainers’ experiences in the kindergartens and schools causes conscious designing, production, and selection. To find the factors influencing the selection of parts of the children and adolescents’ pictorial books, a field study was carried out according to the perspectives of the study sample volume. The results obtained from the one-sample independent t-test for the prioritization of the indices demonstrated that the children’s trainers consider the subject, story setting, apparent form, production costs, duration of use, number of pages, color, and design for the selection of parts of the children’s pictorial books. Duration of use, the number of pages, color, and design are amongst the factors realized as important for the selection of the adolescents’ book formats. Furthermore, from the perspective of the adolescents’ teachers, the selection of children’s book parts depends on factors like lightness, subject, story setting, apparent form, application, duration of use, number of pages, color, and design. As for the adolescents’ books, factors like subject, application, number of pages, color, and design are taken into account. In the meanwhile, it was concluded using Friedman’s test and rating of the abovementioned indicators that the importance of the factors influencing the attractiveness of the children and adolescents’ books from the perspective of the children’s and adolescents’ trainers are due to lightness, subject, story setting, apparent form, production costs, application, duration of use, number of pages, color and design. As for the adolescents’ books, the higher priorities go-to the subject, production costs, application, duration of use, number of pages, color, and design.

The Picture book is an artistic–literary work utilising both picture and writing systems to communicate. Expressive tricks from both language systems are veryimportant. The interactions between the two can form a narrative in a layer superior to each in the picture books. Therefore, the study of such expressive tricks in the Willy the Wimp and Boxer picture books are in the agenda here. It is intended to find out how expressive tricks generate narrative and interactive orders. To do so, semiotic, theories of ‘conjunctionand disjunction’ or ‘classic narrative’, as well as ‘co-presence’ systems have been used. The paper concludes that any trick is presentable by the author, provided it is expressed as an interactive structure or approach for the subject.