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.

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.

Technological growth and globalization of communications and international markets competition have more than ever highlighted the need to understand the changes that are taking place in various areas of graphic design and other applied arts. Today graphic designers in all corners of the world are after a way to surpass rivals and to enhance the quality of their works and to make them as up-to-date as possible. Identifying postmodern graphics employing modern technology and historical sources as well as its inherent pluralism is a positive factor.The research at hand is an endeavor to identify postmodern graphics and a number of postmodern graphic artists as well as its contributing elements in the international arena to help to understand although in brief postmodern graphics.This study seeks to review the origin and the evolution of postmodernism, its precipitating causes and some theories of it and to identify a group of factors influencing postmodern graphics like the influence of technology and modern processes hopefully to take a step forward in promotion of graphics.

Today, women have a strategic role to play in sustainable development as half population of the society. Investing in women’ s empowerment means investing in sustainable development. The main aim of this study is to investigate the factors affecting the empowerment of married women in East Azarbaijan province. The method of study is quantitative and the data were collected using a questionnaire. According to the latest census (2016), the statistical population of the study included 1203062 married women in East Azarbaijan province from whom 1134 individuals were selected based on the Cochran formula and via multi-stage cluster sampling as a sample of the study. In general, the research findings showed that 1. The level of psychological empowerment of married women in East Azerbaijan province is higher than the average (75. 15%). Based on the results of path analysis, the direct, indirect, and total effects of economic, social, cultural, and psychological capital structures on women's empowerment were significant and could explain 66% of the variance of the dependent variable (women empowerment). Comparing the beta coefficients of regression analysis, it can be said that women's empowerment is mostly affected by the variable of psychological capital (0. 68).

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

 In the beginning, intertitles were handwritten on a completely black background. The contrast between the black background and white text quickly attracted the audience's attention to the text. Most of the intertitles from this era, regardless of the film genre, were written in a single font and typography style, solely intended to convey information to the audience without much emphasis on letter style, angles, etc. Around the 1920s, alongside the use of black backgrounds, the use of textures became common. Staring at white text with such high contrast against black backgrounds for extended periods strained the viewers' eyes. Changing intertitle backgrounds from black to dark gray somewhat alleviated this issue. The textures used in intertitles of this period resembled carpet or fabric textures, with white letters written on them. Around the same decade, both simple linear frames and frames with curved lines were used for intertitles. By the mid-1930s, most films had sound and dialogue, marking the end of the silent film era. The relationship between films and audiences and the language of film changed during this time. With the advent of sound in films, graphic design in intertitles did not entirely disappear from the cinema industry. In fact, a type of intertitle known as descriptive intertitles became obsolete, but descriptive intertitles found their place in the filmmaking industry and the visual language of films. Directors could still strategically use descriptive intertitles as a tool for better narrative communication, even without the sound element. Although intertitles underwent changes due to the introduction of sound in the film industry, opening and closing titles and filmography were not greatly affected, as they conveyed a message that did not depend on sound. The use of intertitles was no longer necessary, and this made their creative use more limited. This was a significant moment in determining the power and position of graphic design in cinema and filmmaking. This research aims to examine the types of subtitles and graphic elements present in Wes Anderson's films and to categorise the various uses of graphics in cinema. In this regard, the subtitles of Wes Anderson's films are analysed based on five components, including types of subtitles, movement, insertion techniques, the importance of subtitles in relation to film narration, and their relationship with other film elements. Then, the graphics used within them are analysed based on three components: the relationship of graphic elements with film narration, the presence of graphic elements as a uniform, and the type of graphic element used in subtitles. This qualitative research, conducted using a descriptive-analytical method, seeks to answer the question of what role subtitles and the graphics used within them play in shaping the visual identity of Wes Anderson's films. The findings of the study indicate that the use of graphic elements in the form of a uniform design of subtitles and their repetition can shape the visual identity of the film in the viewer's mind. Colours, fonts, and graphic elements used in the visual identity and subtitles of the film are influential in determining the film's time frame. Research and access to the film script are necessary for designing graphic objects and subtitles within the film. After examining films such as "The Grand Budapest Hotel" and "The French Dispatch," it appears that the director's personal style has been influential in shaping the visual identity of the films. Subtitles and graphic elements used in these films play a vital role in creating cinematic spaces, conveying hidden messages within the film. These elements contribute to establishing a distinctive visual identity for the films that remains memorable in the minds of audiences, utilising specific colour combinations, unique fonts, and creative graphic designs. In "The Grand Budapest Hotel," subtitles and graphic elements, characterised by saturated colours and precise designs based on the screenplay, help evoke a sense of nostalgia and recreate the atmosphere of the 1930s. In a film like "The Grand Budapest Hotel," which spans different decades and locations, the presence of time and place subtitles significantly influences how viewers interpret the film's narrative in a shorter timeframe. In "The French Dispatch," graphic elements and subtitles are used in a manner that reflects the cultural and artistic atmosphere of France in past decades. The film employs complex graphics and a variety of colours inspired by The New Yorker magazine, successfully creating a dynamic and engaging visual identity for its audience. The visual identity of the film is based on the cover and pages of a magazine designed by Erica Dorn, inspired by The New Yorker magazine. According to Dorn, there is no complete physical version of this magazine; only the cover and pages used as subtitles in the film are designed, and the rest of the magazine exists only in the imagination of the audience. The colours used in "The French Dispatch," like other Wes Anderson films, are bright, cheerful, and highly saturated. The colour palette of this film is composed of warm colours, depicting the city in shades of cream and brown. Wes Anderson maintains symmetry in most of his films, aiming to centre characters, texts, and graphic objects in the frame. Ultimately, this research concludes that intelligent use of graphic elements in subtitles can strengthen the visual identity of films and enhance their impact on audiences. These findings can serve as a practical guide for directors and graphic designers in the cinema industry to produce films with stronger and more appealing visual identities by employing similar techniques. A detailed analysis of subtitles and graphic elements in Wes Anderson's films demonstrates that these elements not only serve as decorative tools but also play crucial roles in creating and enhancing the visual identities of the films. Therefore, subtitles and graphic elements influence how viewers perceive and experience the film, contributing to a richer and more diverse cinematic experience. The choice of fonts and colours appropriate to the historical period of the film, and their repetition in subtitles, graphic objects, and opening and closing credits, significantly contribute to shaping the film's identity. The director's artistic style also plays a vital role in shaping the film's identity. The use of saturated colour palettes, vibrant colours contrasting with the film's themes and what the viewer sees, and the fonts used in Wes Anderson's films distinguish his works from others. For designing graphic elements and objects within a film, initial research and access to the screenplay are necessary. After researching the historical period and location range of the film, graphic elements and necessary objects are extracted from the screenplay and analysed for design purposes. Graphic objects can be produced manually or using softwares. Subtitles, due to their repetition throughout the film, remain memorable in the viewer's mind, and if they possess specific visual characteristics, they can greatly contribute to forming the film's visual identity. The applications of graphics in cinema are divided into three categories: opening and closing credits, subtitles, and graphic objects. The use of graphic design in film can be influential in the viewer's perception and interpretation of the film narrative, playing a significant role. The use of handwritten scripts and font design for a film, research, and designing the film's identity based on its narrative and historical period, and the use of colours suitable for the film's timeline and the director's artistic style can be powerful tools in shaping the film's visual identity. Visual characteristics used in subtitles of Wes Anderson's films are often presented in a uniform format. The use of uniformity in designing subtitles allows viewers to quickly understand the type of information presented in the subtitles within a shorter period of time. With repeated subtitles throughout the film, their uniformity and identity remain memorable in the viewer's memory. The use of graphic elements as a uniform in subtitles can be a powerful tool in shaping the film's visual identity in the viewer's mind.Keywords: Functional Graphics, Graphics in Cinema, Intertitle, Wes Anderson.