Environmental Graphics is a wide branch of design that is used in the design of many buildings and complexes today. In this regard, this art can also provide valuable help to designers and architects in the design of art museums, which has been examined in this research; Therefore, this research was conducted with the aim of investigating the structure and Environmental graphic design in the contemporary art museum. The information required for this research was collected by the library and field method by visiting related libraries and museums and was noted and recorded with a recording tool and a camera. Then this information was analyzed in a descriptive-analytical way and the results showed that the current interior Graphics of art museums in Iran do not follow a certain standard and their implementation methods of interior Graphics are also not appropriate. By using the available space in contemporary museums, the problem can be solved; Because the space in the works of contemporary museums can be in the structure and graphic design of the interior environment in the contemporary era.More about this source textSource text required for additional translation informationSend feedbackSide panels

the main tasks of ‘Environmental Graphics’ have been designated as: Provision of instructions and essential information, Environmental embellishment, ease of interconnection and visual identity establishment all of which can affect the culture and identity of the audience through an unconscious process. If we consider, on the one hand, the crisis of identity and cultural problems of the present era and on the other hand the tumult, chaos and the confusion associated with urban spaces as the most critical issues of urban communities’ conventions, then we should recognize the nonverbal, bilateral and tight interrelation between environment and culture as two elements which fulfill human’s material and spiritual needs. In modern communities, Environmental elements and phenomena have become a safe haven for human communications. As one of the urban transportation systems, metro, as well as the most useful and modern of all such systems, also brings about undoubtedly the contingencies of modernity, putting its other essential and cultural functions in the shade. The present study is an attempt to investigate the cultural and identity-oriented effects of Tehran metro’s Environmental Graphics from a rigorous and specialized perspective and further identify the factors contributing to the Environmental elements design of this urban scenery, exploitation of cultural and identity-oriented values and conduct needs-basement on the above mentioned factors. The methodology of this study is descriptive and analytical and data has been collected through library and survey research by means of the stationary frame of reference. The results gained from most of the Metro stations in Tehran indicate that in designing the elements of Environmental Graphics of the stations, variables such as passengers’ characteristics, local texture, exclusive properties of each station and religious and national conventions of our country have been neglected to the extent that in the design of most Metro stations’ Environmental elements, a single uniform system of ideas has been employed.

Ancient cities had a high level of walking accessibility, afterwards following that industrial revolution and dominance of personal cars over transport systems the idea of walking faded away. Walking as a cheap and available way of transportation that has no need to specific device is always popular with all social classes in any kind of living contexts. When urban atmospheres were affected by air pollution and lack of fossil fuels, reducing quality level of urban spaces usage of public transportation and avoiding personal became popular among citizens. In this study, the visual elements and how they influence as activating elements of the urban spaces. Achieve a deeper understanding of sounds, images and their impact on human and contextualized approach to the issue of urban design elements in the environment due to the collective perception psychology and social behavior in the environment that can be in the form of architectural and landscape design considered. The questions of the Environmental impact of the graphic elements are in line with the activating urban spaces? The points discussed include a variety of visual elements as well as the effectiveness of rational design based on human psychology and physiology city for activating According to the notification the moment and review the purposes of collective perception in the long term. The results show that the rational design of visual elements and check on the proper use of Environmental Graphics psychological understanding of human and collective memory in the urban areas (at micro and macro levels) and citizens profound effects on the environment and urban spaces pedestrians which was designed to lead to activating urban spaces.

Purpose: The feeling of security in public sports stadiums is one of the most critical indicators for the quality of the arena. The use of Environmental Graphics in stadiums can create a sense of security in the spectators. This study aimed to design a communication model of Environmental Graphics and a sense of security in Iranian soccer spectators. Methodology: An applied method was adopted for this descriptiveexplanatory research. The researcher-made questionnaire with five Environmental Graphics components and six feelings of security was used for data collection. Fifteen experts confirmed the validity of the questionnaire and its overall reliability for Environmental Graphics and security. The study's statistical population included the spectators of the Iranian Premier League, among whom 384 people were selected in proportion to the size of stadiums. Findings: The results showed a significant relationship between Environmental Graphics and feeling of security in spectators and that the intensity of this relationship was 0. 553 based on R2 criterion, indicating a strong correlation between these two variables. Therefore, in the design, construction and installation of soccer stadiums, it is necessary to instil a sense of security in the spectators present in the stadium and prevent social and cultural anomalies or non-return of spectators to the stadiums using the capacity of graphic, Environmental experts. Originality: This article is valuable and unique because it analyzes the relationship between new variables of Environmental Graphics and Feeling of Security in Spectators.

Lighting as one of the basic parameters in architectural design and one of the factors creating a sense of space and strengthening the identity of the place, has a strong presence in Iranian and Islamic architecture; And since managing the presence of natural light as well as artificial lighting in terms of visual, semantic, functional aspects, etc. is also important in the field of Environmental graphic design. The present research considers the optimal use of lighting and lighting facilities in the Environmental Graphics of Sheikh Lotfollah Mosque in Isfahan as an outstanding example and with a pathological perspective. Two questions can be asked in this regard; First, what are the damages caused by improper lighting in the Environmental Graphics of Sheikh Lotfollah Mosque, and second, which methods are effective in designing the principles of lighting. In this regard, the effects of light spectrum, light quality and intensity and duration of radiation of artificial light sources on the historical texture and the damage caused by it have been studied. Furthermore, providing practical solutions appropriate to conventional artificial light sources for lighting the historical context in order to minimize these damages using the latest scientific achievements is another objective of this study. The research method in this research is descriptive-analytical which has been conducted in a qualitative manner with the aim of investigating the pathology of light and lighting in Sheikh Lotfollah Mosque in Isfahan. Data collection was performed using field method (observation) and documentary method (library studies and upstream documents). In the present investigation, a profound view on the use of light in historical context has shown that artificial light can affect the expression and creation of historical context as much as sunlight, and on the other hand, inadequate lighting in historical context can have detrimental effects on Environmental Graphics. Unfortunately, the damage caused by light, such as fading, fading and discoloration, and the deformation of works of art and history are irreversible. Therefore, it is necessary to protect valuable works against these damages.

Obtaining from a descriptive/analytical research and based on a professional experiences of the author, this article surveys and discusses the negative atmosphere existed historically in portrayal works and Graphics as well as represents the existing standpoints around it. The relationships between Gestalt’s visual perceptive principals including background and pattern, similarity, contiguity, unity and continuity and the negative atmosphere are also explained. Then, William’s designing principal (contiguity, alignment, repetition and contrast (resulted from aforementioned quintuplet principals are expressed illustratively. Furthermore, Von Restorff’s effect and its relation with this negative atmosphere are addressed. Finally, the state and importance of this negative atmosphere in graphic works such as signs, posters, book covers, advertisement in press and so forth are elucidated. In all of the foregoing works, the negative atmosphere is as dominant as positive atmosphere being the shape of work.

In the contemporary world, life is very much influenced by the outside environment and thus such spaces provide the best opportunity for graphic designers. This opportunity is sometimes as short as a pause, but sometimes it may deeply affect the viewer or lead to the audience interacting with the work and creating a new meaning. We see this phenomenon in developed countries as Graphics or interactive Graphics. Of course, most of these interactions are fun and to introduce and sell promotional products. John Fiske’ s main concern is how to construct cultural meaning in societies. His areas of interest include popular culture, media culture, and television studies. And he believes that audiences with different cultural backgrounds and identities receive texts differently. He also emphasizes in his theories the extraordinary role of the "reader" in the process of deciphering media texts. The interaction between the audiences is one of the components of modern art. Attention to interaction, which is to emphasize the centrality of the audience in the formation of the work, leaves the work as much as possible from the artist's intentions and, considers the importance of void and insignificant and considers the text and how to read it important. The development of interactive Graphics as contemporary art and based on modern industries is very important in contemporary advertising. In the direction of this interaction and according to the definitions of interactive Graphics, the approaches of Fiske and the importance of (sender), how to read the message, the importance of meaning in his interpretations, the necessity of how to interpret and read these messages and produce meaning according to texts and cultures seem important and practical in terms of Environmental education. Many new media rely on digital technology. The amazing capability, accessibility, and speed of this technology are unparalleled in meeting the needs of contemporary man. And of course, with this development and based on these new capabilities, the element of interaction has become a very important phenomenon of Environmental advertising. The growth of interactive approaches in art coincides with the emergence of so-called postmodern ideas, new and influential possibilities that the former had not seen so rapidly evolving in the human race. And this phenomenon has created new and different capabilities in this category: Media that rely on digital technology. According to the characteristics expressed in John Fiske's transitional approach, and the issue of communication, change, and intentional behavior modification, the senders send passwords and the recipients decrypt them. But this trend has sometimes been towards the unification and domination of the media, which has either propaganda, commercial or political requirements. . . while Fiske considers the decoders, who are the same audience, as the leaders of meaning production and cultural defenders. He has always been at the forefront of the fight against victimizing media audiences as awkward and passive consumers. And in this case, the importance of the encoder and the type of encryption becomes more important. Fiske, therefore, in expressing the transitional approach, considers communication as a process by which one influences how another person acts and mentality as well. If the effect is different from what was intended or the effect is less than that, the problem of communication failure is raised and seeks to analyze the work process to find the cause of failure. And so, this approach has also been called the "process". This belief opens up for us how, according to Fiske, we can be safe with cultural backgrounds and identities, and with modern tools and technology in interactive Graphics and interpretation of meaning in the system of indigenous texts, to spread cultural propaganda and take steps to protect the environment. This research seeks to answer the question of what is the transmission of the message through interactive Graphics based on the theories of John Fisk, to create a culture and produce meaning by the audience; and how is this important in the development of Environmental protection? And tries to hypothesize that interactive Graphics, seems able to carry multiple meanings and engage the audience for purposeful Environmental cultural education in the production of polysemous messages, coding, and decoding by the audience. The research first examines in a descriptive-analytical manner, the basic concepts of John Fisk theories and the transitional and ritual approach in the strategy of how to convey the message. Afterward, relying on his semiotics to describe the relationship of the audience with the message and convey the meanings of cultural messages with the interactive graphic event is analyzed. It seems that Environmental education could be influenced with the help of the interactive Environmental Graphics, the proximity of the effective message, and the active and involved audience i. e. being effective, achieving empathy, arousing the audience's Environmental sensitivities such as global warming crisis and rising water levels, drought.

Motion design an abbreviation of “Motion Graphics Design” is the art of bringing graphic design to life through animation. Static letters enter the world of Motion Design from the moment they become animated. In the same way simple graphic forms can be animated.The extraordinary evolution of motion Graphics in our complex ' information age' had a great effect on graphic designer’s works such as film, television, the Web, and interactive forms of entertainment.The aims of this research are finding out the potentiality of motion Graphics in our physical universe and the way of forming the interior design of living area and designing urban environments. Moreover we try to show how the new technologies; immersive environments, interior design, animated exterior, performance arts, contemporary videos, and alternate spaces show new capabilities of motion Graphics to graphic designers. The research method for the project is inductive and considering works which created by motion graphic designers.

Historically, avant-garde artists have always used new technology, tools, and materials to express their vision. Currently, video mapping is a technology that, in terms of our time and the current media environment, may seem that digital culture and the framework of new media are its recent background, but video mapping has an older history. According to Paul Virilio, it is impossible to separate the history of visual display (from which video mapping is one of its new forms) from the history of artificial light, due to their technological affinity. Video mappings are one of the new and effective forms of Environmental Graphics in the city with a deep and old history. Simply, video mapping is a display of an image, movement and setting with sound and a specific concept in different aspects like cultural, social, advertising and amusement. Due to the importance of communication in modern cities, video mappings are so essential. Today, the use of urban video mapping to beautify and instill cultural, social, etc. concepts is considered a significant element in the development of modern technologies for society's communication, which quickly engages the audience in the message of the work and makes it last in the audience's mind. Unfortunately, the review of reliable articles and texts in domestic publications and books shows that no complete and specific research has done in Iran in the field of video mapping and their role and impact on Environmental Graphics and video mapping is a new topic in Iran. It is essential to better understand and research this matter in Iran according to the progress of this type of 3D specialization in the world and the increasingly progress of this technology. Based on the demand and necessity and considering the importance and impact of video mapping in the Environmental Graphics of modern cities, this research has addressed the issue of how video mapping in modern urban communication can be effective as an art and medium. It is a qualitative research wherein analytical and descriptive methods have been used. It tries to examine the effect of video mapping and its appearance in 21st century Environmental Graphics based on the Paul Virilio’s opinions and by reviewing reliable domestic and international sources and documents and searching on websites. Le Manovich is a French philosopher in the field of technology and art, as well as a media artist and digital culture theorist. He concluded that video mapping is a fundamental factor in the development of the industry and the culture of a high-performing society as well as a large audience in the world. Virilio considers the man's perception of the environment is a daily and pre-determined understanding and states that the horizon of the human vision makes his understanding of the environment. He refers to man's understanding of geometric and non -geometric shapes before recognizing that shape. Thus, he draws attention to the things that apparently don't exist, not to those that do. In his opinion, this attention to the aesthetics of visible and invisible causes the emergence of noble and valuable works. Manovich also considers a work with a beneficial effect on the environment and the individual as a valuable work that can be a cultural work with influential and significant consequences. The findings showed that, according to the daily interaction of the citizen with the urban environment, cities are one of the most substantial factors affecting the citizens. In the 21st century, video mapping (with its historical background) can be an effective media in the fields of culture, social, advertising, decorations and even be personal. For example, in architecture, especially the architecture of buildings, one of the main applications of video mapping is at night, that can be as considerable as at day. Virilio's theory invites people to observe spaces and negative spaces and anti-forms instead of forms and sizes, as well as positive space and form, and gives equal importance to them. Video mappings can also have an impactful use in the same way. Thus, Using the passive, physically active, or metaphysically functioning video mapping in cities can create a memorable and effective scene both at day and especially at night and attract not only present but also absent audiences from all over the world. In addition, in Manovich's opinion, the layers of the media are cultural and computerized, so in the cultural layer, so in the cultural layer, the computer layer affects culture and literature. Therefore, new arts like video mapping have an impact on our culture and environment, using it has a specific and positive effect on our lives and our surrounding environment. The interactive feature of video mapping is one of the most influencial and seminal features of video mapping in Environmental Graphics, which engages and interacts with the audience. Thus, the role of the audience is powerful and impressive in the video performance process. With further investigation, the video mapping usage divided into some pivotal groups like advertising, entertainment and recreational, educational, decorative, and thematic (personal) groups. The advertising is the most well-known area in this field. Corporate companies and reputable brands use video campaigns to reach a large audience at the venue and even outside the scope of the video campaign, where the audience is absent. We see more fun and entertainment in competitions, games and various events. Educational video mappings convey tips, messages, and lessons well to the audience and can also take on an interactive mode, which is more effective in didactic items. Decorative video mapping in Environmental Graphics gives a detailed and enjoyable look and effect to the space, especially the urban environment, and attracts the audience to this space. Also, there are a range of video mappings used as personal and thematic items in parties. As a result, using video mappings in different and diverse groups is one of the indicators of the improvement of urban spaces, and Environmental Graphics have a positive cultural and social impact on citizens and audiences. So, it is worth paying attention to and using in modern man's society.