Digital style history: the development of graphic design on the Internet

Engholm, Ida

doi:10.1076/digc.13.4.193.8672

Cited by 24 publications

(16 citation statements)

References 5 publications

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“…A website needs to be harmoniously designed and the artistic ideas need to be implemented with skill and care. From an art-historic perspective, Engholm (2002) describes different schools of style in web design and also points to their dependencies on available technologies. Website design is an area of rapid development and continuously changes as technology progresses (Ivory and Megraw, 2005).…”

Section: Craftsmanshipmentioning

confidence: 99%

“…Therefore, it may also be necessary that websites are based on modern technologies to avoid the impression of being outdated. Moreover, aesthetic appreciation of a website may also depend on its membership to a certain school of style (Engholm, 2002), which resembles the prototypicality dimension of aesthetic objects (Hekkert and van Wieringen, 1990;Hekkert et al, 2003).…”

Section: Craftsmanshipmentioning

confidence: 99%

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Facets of visual aesthetics

Moshagen

Thielsch

2010

International Journal of Human-Computer Studies

415

370

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Visual aesthetics has been shown to critically affect a variety of constructs such as perceived usability, satisfaction, and pleasure. Given the importance of visual aesthetics in humancomputer interaction, it is vital that it is adequately assessed. The present research aimed at providing a precise operational definition and to develop a new measure of perceived visual aesthetics of websites. Construction of the Visual Aesthetics of Website Inventory (VisAWI) was based on a comprehensive and broad definition of visual aesthetics so that the resulting instrument would completely describe the domain of interest. Four interrelated facets of perceived visual aesthetics of websites were identified and validated in a series of seven studies. Simplicity and Diversity have repeatedly been treated as formal parameters of aesthetic objects throughout the history of empirical aesthetics, Colors are a critical property of aesthetic objects, and Craftsmanship addresses the skillful and coherent integration of the relevant design dimensions. These four facets jointly represent perceived visual aesthetics, but are still distinguishable from each other and carry unique meaning. The subscales contained in the VisAWI demonstrate good internal consistencies. Evidence for the convergent, divergent, discriminative, and concurrent validity of the VisAWI is provided. Overall, the present research suggests that the VisAWI appears to be a sound measure of visual aesthetics of websites comprising facets of both practical and theoretical interest.

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Section: Craftsmanshipmentioning

confidence: 99%

Section: Craftsmanshipmentioning

confidence: 99%

Facets of visual aesthetics

Moshagen

Thielsch

2010

International Journal of Human-Computer Studies

415

370

View full text Add to dashboard Cite

show abstract

“…Furthermore, the web is evolving. Several states of design, closely associated with technological developments, have been identified over the years (Engholm, 2002;Ivory & Megraw, 2005). Because the web and website design are prone to technological innovations, constant facets and effects of website perception and evaluation need to be identified, which has led to the investigation of three core constructs in current research on human perceptions of websites: content, usability, and aesthetics (e.g., Cober et al, 2003;Schenkman & Jönsson, 2000;Tarasewich, Daniel & Griffin, 2001).…”

Section: Introductionmentioning

confidence: 99%

User Evaluation of Websites: From First Impression to Recommendation

Thielsch

Blotenberg

Jaron³

2013

Interacting with Computers

114

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Content, usability, and aesthetics are core constructs in users' perception and evaluation of websites, but little is known about their interplay in different use phases. In a first study web users (N=330) stated content as most relevant, followed by usability and aesthetics. In study 2 tests with four websites were performed (N=300), resulting data were modeled in path analyses. In this model aesthetics had the largest influence on first impressions, while all three constructs had an impact on first and overall impressions. However, only content contributed significantly to the intention to revisit or recommend a website. Using data from a third study (N=512, 42 websites), we were able to replicate this model. As before, perceived usability affected first and overall impressions, while content perception was important for all analyzed website use phases. In addition, aesthetics also had a small but significant impact on the participants' intentions to revisit or recommend.

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“…A wealth of research has discussed the immense increase in opportunities for "participatory politics" (see Jenkins, Ito, & boyd, 2016, Chapter 6, for an overview) and the role of digital media in political campaigns (see Heaney, Newman, & Sylvester, 2011, for an overview), but little work has addressed the role typography, among other elements of graphic design, plays in enabling such participation. Considering the Internet's role as a participatory medium (Jenkins, Ford, & Green, 2013; see also Jenkins, Ito, & boyd, 2016), the great significance of graphic design to the use and organization of the Internet (Engholm, 2002), and the increasing power of the Internet to mobilize supporters (Haynes & Pitts, 2009), future studies should take a participatory culture approach to understanding the role of graphic design in developing engaged communities around political office seekers and parties.…”

Section: Conclusion: Toward the Futurementioning

confidence: 99%

Fonts of Potential: Areas for Typographic Research in Political Communication

Billard¹

2018

Preprint

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As the prevalence of digital technologies has increased, so too has the prevalence of graphically designed content. In particular, typography has emerged as an increasingly important tool for visual communication. In recent years, political actors have seized upon the expressive potential of typography to communicate their messages, to support their campaign efforts, and to establish viable brand identities. However, researchers have been slow to address the new role typography plays in the processes of political communication. Therefore, this article both synthesizes and proposes key areas for research on typography in political communication. Drawing on extant literature across the fields of design, communication, and political science, this article identifies the ways in which typography contributes to the communicative and organizational aims of political actors, demonstrates these contributions with examples from recent political campaigns, and concludes by pointing toward unanswered questions for future studies to address.

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Digital style history: the development of graphic design on the Internet

Abstract: To cite this article: Ida Engholm (2002) Digital style history: the development of graphic design on the Internet, Digital Creativity, 13:4,[193][194][195][196][197][198][199][200][201][202][203][204][205][206][207][208][209][210][211] To link to this article: http://dx.

Cited by 24 publications

References 5 publications

Facets of visual aesthetics

Facets of visual aesthetics

User Evaluation of Websites: From First Impression to Recommendation

Fonts of Potential: Areas for Typographic Research in Political Communication

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