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The purpose of this paper is to explore graphic design best practices and approval processes used by librarians.

This paper used an online, qualitative survey to collect data on librarians’ design processes and best practices. The responses were reviewed to determine categories and themes of librarians’ design processes and best practices to gain an understanding of the state of graphic design in libraries.

The majority of the respondents reported that there were no formal guidelines, design committees or approval processes at their libraries. While some librarians were aware of and used graphic design best practices, many respondents were unsure of what constituted a best practice in graphic design.

The paper was exploratory and the respondents cannot be said to be representative of all librarians and, therefore, generalizations to all librarians are not possible.

Findings may help librarians who assume design duties in their libraries in exploring best practices and discussing design approval processes.

This paper is one of the few papers in the library science literature on graphic design as applied specifically to librarians. It increases our understanding of graphic design in libraries.

This purpose of this paper is to present a technique for measuring the impact of package graphic designs on consumer choice and purchase intentions. The technique allows several proposed graphic designs for the same product to be compared, both with one another and with their immediate competitors up to a maximum of eight designs.

The approach is based upon a fractionally replicated Latin square design with two sets of four package graphic designs and five consumer groups as the independent variables. The dependent variable is consumer choice.

Three fully worked examples of the test are presented. The results show that graphic design has a massive and statistically significant impact on consumer choice, ceteris paribus. The test is able to discriminate strongly between package graphic designs that only apparently differ in detail.

The results show that graphic design has a significant impact upon consumer choice, but it also shows that this impact is highly product and situation specific. This may have considerable implications for any claimed wider “empirical generalisations” relating to the impact of graphic designs, or components thereof, on food consumer choice.

The methodology presented allows graphic designs to be tested before they enter the marketplace. It replaces opinion with a reliable and quantifiable output that can be easily interfaced with econometric and market share models that have been developed within the choice modelling literature.

This appears to be the first paper to appear within the literature that presents a reliable, simple and easily administered test that is capable of quantifying the performance of alternative graphic designs on food packaging.

This paper investigates the specialist learning undertaken in graphic design classrooms and its relationship to industry practices. It considers how well students are prepared for work and the nature of this vocational preparation.

The paper is based on an empirical study using a qualitative, case study approach. A situated perspective on design learning and knowledge was adopted, and a strong focus on studio discourse developed. An analytical method based on respondents' use of metaphor in practice‐oriented discourse evolved, providing an interpretive framework for the study.

The paper describes the difficulties involved in undertaking research into design classrooms, outlining how these were resolved to allow the unique learning activities of the design practicum to be identified. It discusses the lack of recognition of design pedagogies, and considers their characteristic strengths and weaknesses. Key metaphorical discourses structuring design learning, teaching and practice are identified. Shared discourses in use across graphic design education and industry suggest the alignment of these contexts, providing a perspective on them as overlapping “circles of practice”. Conclusions are drawn about the effectiveness of graphic design vocational education.

The study suggests a means of researching practice‐oriented discourses and activities across a range of settings. It offers ways of considering the alignment of educational and professional contexts by using a modified “situated” perspective on learning. This perspective allows for recognition of types of learning that do not meet traditional, “academic” criteria and of the vocationally‐referenced pedagogies that promote them.

The purpose of this paper is to establish whether consumer focus groups can generate reliable data when used as a consumer research input to copy/graphic design development for retail food packaging.

Six focus groups of six consumers each (n=36) were used to assess four concept designs for a manuka honey cordial product. The focus groups were used to rank the design concepts and to generate specific consumer-driven recommendations to develop/improve each of the designs. A new version of each design was then developed using these recommendations. The eight designs (four original and four improved) were tested together, using a quantitative field experiment at a supermarket in the area from which the focus group sample was drawn.

The results showed that the focus group rankings of the four original designs were largely predictive of the outcomes of the field trial. The improved designs also consistently outperformed their original equivalents in the field trials. Very large improvements were recorded with respect to the weaker original designs.

The research only studied a single product type. However, the results demonstrate that focus group outcomes can be extended onto larger populations if the focus group sample is large enough.

These results support the use of consumer focus groups as a research input to package graphic design development.

Focus groups are used regularly in research where the applicability of their results to larger populations is assumed. This is the first research to formally test that assumption.

Each amusement park has a wayfinding system, while symbols are important mediums to guide tourists to find their destinations. It is very important that whether the meanings of symbols recognized by tourists immediately. This paper mainly discusses the recognition of graphic symbols in amusement park, and proposes the improvement suggestions. Materials for this study were drawn from 20 different graphic symbols of a theme amusement park in Taiwan. The testees were required to evaluate the design of graphic symbols based on symbolic meaning and graphics recognition to summarize the confusion matrix. The results show that there are three groups of graphic symbols easy to be confused, and five symbols not meeting a criterion of 67 per cent correct responses. The reasons were discussed, and improvement and relevant suggestions have been proposed, which may be helpful to redesign of symbols.

Within the framework of a research project into alternative ways of representing documentation languages and into their flexibility, an attempt is made to draw up a list of performance criteria that an ‘ideal’ thesaurus graphic display should respect. However, a study of the main bibliographies listing thesauri, shows that less than 6 per cent of them contain graphic displays, even though a concurrent literature survey reveals that such displays offer many potential advantages. Up to now, use of displays was probably limited by technology and by the rarity of studies into the cognitive processes of the users of automated systems. Current research in several disciplines (computer graphics, ergonomic psychology and spatial representation) should contribute to the emergence of new types of documentation retrieval tools, well adapted to a broader and more diversified clientele.

In the last two decades, a proliferation of business process management (BPM) modeling languages, standards and software systems has given rise to much confusion and obstacles to adoption. Since new BPM languages and notation terminologies were not well defined, duplicate features are common. This paper seeks to make sense of the myriad BPM standards, organising them in a classification framework, and to identify key industry trends.

An extensive literature review is conducted and relevant BPM notations, languages and standards are referenced against the proposed BPM Standards Classification Framework, which lists each standard's distinct features, strengths and weaknesses.

The paper is unaware of any classification of BPM languages. An attempt is made to classify BPM languages, standards and notations into four main groups: execution, interchange, graphical, and diagnosis standards. At the present time, there is a lack of established diagnosis standards. It is hoped that such a classification facilitates the meaningful adoption of BPM languages, standards and notations.

The paper differentiates BPM standards, thereby resolving common misconceptions; establishes the need for diagnosis standards; identifies the strengths and limitations of current standards; and highlights current knowledge gaps and future trends. Researchers and practitioners may wish to position their work around this review.

Currently, to the best of one's knowledge, such an overview and such an analysis of BPM standards have not so far been undertaken.

To identify the relative effects of three features of response toward web interface (RWI) on their advertising promotion effectiveness as measured by the number of accesses to various web pages.

A factorial design experiment was conducted on the internet to empirically test the hedonic stimulation web interface model developed by the authors.

The results reveal that there are three main effects and two two‐variable interactions which are found to be significant. In respect to our hedonic stimulation web interface design model (HSWIDM). No three variables of the hedonic salience interact simultaneously.

Among the potential limitations of this research is the main effect of colour in the design of the experiment. The other potential limitation is related to the broad assumption of subjects selected.

In operational terms, the major finding regarding the key aim of this research is that all three hedonic salience variables have a main effect and lead to a hedonic valance.

The research adds to the body of literature and knowledge focusing on quantitative internet research and analysis of data using a practical factorial design and analysis method as exemplified in the use of Yates' forward analysis of factorial experiment.

The purpose of this paper is to provide a characterization of the editorial design methods of technical books in a hybrid publishing context.

The paper starts by characterizing editorial design as a discipline itself within graphic design, which is then further identified as in urgent need to adapt strategies to technologies, communication processes and existing information flows. Along with the literature review, the paper includes an analysis of one particular case study, O’Reilly Media.

The paper provides arguments to conclude that the classical approach to the designer’s workflow should be reviewed and the way of framing the editorial problem should also be different: it should focus on the content.

The paper includes implications for the improvement of digital workflows and design processes in the STM hybrid publishing field.

This paper aims to focus on the role of graphics in the propagation of the Balanced Scorecard (BSC) through the persuasive capacity of graphism to “scientize” management ideas. Scientization, through professionalization of knowledge, rationalization of management and the empowerment of human actorhood, is widely seen as an important element in embedding new management concepts and techniques; a determination based on some version of the positivist belief that science offers a privileged access to reality.

Based on an analysis of popular literature of the BSC in core business media during 1992 and 2010, the paper focuses on the publications authored by Kaplan and Norton, the creators and authority on this topic.

The paper argues that the use of graphics has played an important role in promoting the claims made by proponents of the BSC by portraying the technique as both scientific and as descended from a venerable tradition of knowledge. Specifically, it argues that graphics are mobilized to: enable the technique to be portrayed as developing cumulatively towards the present vantage, from flawed measurement to management break‐through; promoters of the BSC to defensibly extend claims about the BSC (i.e. rationalize management through the visual representation of causality and strategic focus); and open up multiple interpretations and iterations of concepts which enable the empowerment of human actorhood (i.e. management).

This paper contributes to the accounting literature relating to diffusion of management innovations, and research examining the generative mechanisms and the processes through which management innovations come about.