Background: Children's knowledge of dental science is important for their oral health. Picture books can aid teaching scientific and practical concepts to children with the use of easy-to-understand pictures. The aim of the present study was to determine an appropriate topic for each chapter of the book and design the pictures in a suitable manner for 3 to 6 year old children. Materials and Methods: In this cross-sectional study, the subject of each chapter was selected by a pediatric dentist and two pediatric dental residents. The selected subjects were explained to the painter with the help of pictures from reference books. The designed images were, then, modified during the 6 months of weekly meetings in Kerman Dental School; and in case of more than 90% agreement between the two residents, the images were reviewed by a pediatric dentist and then the final approval was obtained. Results: The topics of the present picture book are consistent with pediatric dentistry text books. The book was designed in 18 chapters including 131 schematic images. The pictures in each chapter are based on a particular topic relevant to pediatric dentistry. Each chapter consists of 3-15 images. Harmony in the chosen colors and the image continuity were positive aspects, achieved through the close cooperation between the pedodontists and the illustrator. Conclusion: In this research, a book was designed that tries to answer the common questions of parents about pediatric dentistry and teaches the scientific topics of pediatric dentistry to children in the form of schematic and storytelling images.

This paper, examined how post modern values are impressed in interaction of word and image under the domain of inter-genre and inter-textual circumstances. In order to solve this problem, we, based on phenomenological approach, it is hypothesized that any relationship should be analyzed in the framework of the discourse, and so, it should be necessarily considered any cultural, technological and other social circumstances specially with a glance to the anarchistic social factors of the postmodern era which may have any impact involved a quasi discursive situation in any semantic aspect of the signs. Beside that, any sensitive, cognitive and emotional aspects of a subjective interaction should be involved in the study. The results of this study show that a disruption in the bases of the genres and habits of the subjects, play a major role in the fall of the sensory - perceptual, identical borders and so finally, we are faced with a situation where it could be a “quasi discourse, ”. In such a situation, “action” leads to be closed and the borders between discourse and non-discourse are ambiguous.

Synopsis: . . Interpretation is the process aimed to achieve understanding. The purpose of the interpretation is to understand the meaning of forms and find the messages they try to convey to us. From Gadamer's perspective, images are based on the participation of viewers in the process of image formation, and there is no possibility of separation of object and subject. Both the image and the viewer are modified when they experience the production of images. The Image is not fixed and static, but a perception that forms itself within the "observation" experience. Seeing is a process of processor mind and it is unique to him; in this process, the cultural backgrounds and visual experiences of the viewer effect in the processing of developing images, and therefore human visual experiences finds a historical-cultural structure, while previous data is affected. Hence, the observer under the influence of Meta-picture sees the image and makes it. This article, titled “ Understanding from picture to Meta-picture", looks at image, the understanding of the image, the explanation of the Meta-picture, and the role of the Meta-picture in understanding an image. The purpose of this article is to explain the role of imagination in reproduction of the image in the viewers mind and intends to be scientific and measurable. In the end, by doing a survey tries to find out whether the viewer in his imagination refers to a subject outside the image and creates a new image or not. Until the twentieth century, it was believed that the understanding was based on the creator of a work. The twentieth-century thinkers suspected this: if the intention is to create a message, to create a state in the receiver and transmit the message to the viewer, we have basically not understood until the states of viewer and recipient have been taken into account in this process. This article is dedicated to explaining the terms of understanding and seeing under the influence of the phantom and formation of the image. In the following, the issue of intermediate spaces in the oriental art and the role of imagination at the presence of the viewer are mentioned. In the end, we did a survey. The method of scientific research in social sciences has been used in seven stages. Step 1-Initial question, Step 2-Exploration deals (Reading-Exploratory interviews), Stage 3-Theoretical plan of the research question, Step 4-Making the analytical model, Step 5-Observation, Step 6-Analyzing the information and Step 7-Conclusion. The collection of information was in field and library practice. The purpose of the research was to find out if the viewer has more frank in mind than he or she sees, or how the human person in his imagination refers to a subject outside the image and creates a new image. The conversion of the quality of this process into quantity has been the goal of research.

   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.  

Diagnosis: Toxoplasma specific IgG antibody titer was very high in the patient's serum (1:400) but IgM titer was not high. The patient recovered after treatment with pyrimethamine (Daraprim), sulfadiazine, and folinic acid (Leukovorium Factor) for 8 weeks. The diagnosis was Toxoplasma chorioretinitis.

Reports of positive effect of using images, induced imagery,  and self-generated verbal cues on vocabulary recall and  positive results of multimedia-materials authoring  inspired this researcher to compare experimentally two modes of practicing concrete vocabulary items at elementary level— presenting the target vocabulary item along with its mother-tongue equivalent and the related picture/drawing and presenting the item along with its mother-tongue meaning while the learner is producing a picture of it. 40 students practiced 10 vocabulary items in the production mode and 10 vocabulary items in the perception mode, for 59 seconds each. The participants were tested for their memory of the target items twice, three minutes, and 24 hours after practice. The analysis of the results showed that, contrary to previous research, which was usually grounded on comparatively higher level tasks, with lower-level tasks like memorizing concrete vocabulary items out of context, associated pictures helps more than pictures produced by the learners themselves.

Introduction: Non-verbal elements are the invisible conduit for transmitting the personal ideology of the translator and other translators idiots (art director, editor, publisher, etc.). Due to a large number of translations of Silverstein's "Giving Tree" from English to Persian, and the various readings of its commentators, this work has been chosen for the subject of translation of this article. The present research seeks to answer, how non-verbal elements (images, micro-patterns, pagination, typography, and font color) interact in the translated books of the mentioned work. . In the field of children's literature, the interaction of text and image has always been considered by theorists such as Scott and Nikolajeva. The innovation of the present study is that it generalizes their interactions from the level of text-image relationship to the level of non-verbal factors. The results show that the interaction of non-verbal elements is of five types: symmetric, complementary, expansive, counterpointing, and paradoxical. The cultural distance between the original language text and the translated text, as well as the prominent position of image, pagination, typography, etc. in the children's book publishing industry, necessitate performing the research. and in this regard, This research aims to answer three basic questions in the field of Persian translations of “The Giving Tree” (Silverstein, 2011): 1- How can the Nikolajeva-Scott (2019)  Fifth Interaction Pattern, in terms of classifying types of image-text interactions, be generalized to, a model for classifying the types of interactions of non-verbal elements? 2. What are the differences and similarities between the different translations of “The Giving Tree” (Silverstein, 2011) in terms of the interaction of non-verbal elements (image, pagination, typography, miniatures, and font color)? 3- In the various translations of above- mentioned book, what are the types of interactions of non-verbal elements?Background: Mohsenianrad (2014), while quoting Bosmajian's definition, considers non-verbal communication channels to be very wide and expands its scope from facial expressions to fashion, from symbolic actions to dance, theater, pantomime, and music, from the influential currents of time to the flow of traffic, from brutal hegemony to clever diplomacy. In Iran, the articles that have been done on non-verbal communication, which have focused on the non-verbal communication of stories, have focused on the body language and the way the characters dress. Unlike studies conducted in Iran, which generally focus on the non-verbal element of body language, the subject of leading research is the axis of space (such as the proximity of pages in pagination, the proximity of images, and the like), and aesthetics (such as typography, miniatures, etc.).Research Methodology: through descriptive-comparative analytical methods, it compares semantic changes that the translation process has imposed on these interactions, with the original language text. The data in this article are taken from the original language book of “The Giving Tree”, by Silverstein, and the nine Persian translations of the book. In this research, in terms of non-verbal elements (image, typography, pagination, and font), each of these translations is compared with each other, and also the non-verbal elements of the translations, with their corresponding non-verbal elements, are adapted in the original language version. In this regard, the research expands the fivefold division of Scott-Nikolajeva, from the level of text-image interaction to the level of interaction of other non-verbal structures.Conclusion: This study shows that non-verbal elements enclose the text, like a glass frame, without being seen themselves. Many of the non-verbal elements of the books being translated are modified according to the culture and sphere of the target language.  Thus, the non-verbal factors in the various translations of “The Giving Tree” (Silverstein, 2011) may not be semantically identical to the original language text; That is, texts can find new meaning through the interaction of non-verbal factors in line with the ideology of the translator, translation editor, and second publisher.  Non-verbal image factors, pagination, and typography can enter into semantic interaction in five ways: symmetric, complementary, expansive, counterpointing, and paradoxical.When two non-verbal elements represent the same information, their type of interaction is "symmetrical interaction." When two non-verbal elements fill in each other's gaps, their interaction is of a "complementary interaction" type. To understand complementary interaction, the audience usually does not need conscious attention and receives this interaction, automatically and unknowingly. When two non-verbal elements expand the meaning of each other (usually the expansion of this meaning requires the conscious reflection and careful attention of the audience), then their relationship will be of the "expansion interaction" type. In the "hybrid interaction" situation, the two non-verbal elements each have a different narrative, and from their interaction, a new meaning is created, and without each of them, the decoding of the message is not accomplished. The most severe incompatibility between the two non-verbal elements occurs in "contradictory interaction."