مقالات رزومه دکتر بهنام زنگی

The moving images that convey the message and content to the audience are motion graphics. Presenting the content in the form of motion graphics, due to the presence of movement and sound, creates a double attraction in the audience. Motion graphics focus more on the image of proportions and visual harmony, including light and color, sound, movement, text, and symbolic aspects, and are widely used in advertising. The purpose of this research is to identify and analyze the use and characteristics of motion graphic elements in a number of cinema advertising posters and to evaluate the effective factors on attracting audiences and their satisfaction with visual quality and appropriate information. The art of poster design requires targeted efforts to attract the audience more than any other art. The purpose of the current research is to use advertising posters in virtual space using motion graphics and scientific research and to present the ability of motion posters to attract audiences. Considering that the present research has used descriptive-analytical sources and reliable and library documents, the information was collected in the form of flash and then the obtained items were collected through comparison and investigation based on reason, logic and reasoning, analysis. becomes.

In the current digital world, as a result of the fact that the designers create the new virtual world off the ground, identifying the human requirements and confinements is more important and required than ever for correct design. The designer needs to pay attention to human needs so as that relate humans with today’s digital machines in a good manner. One of the most significant human limitations that should be considered while designing is the limitations of the human brain. The fact that how much the designation is proportional to the human brain is of high importance. One of the most important characteristics of the brain for visual understanding of identifying objects is the ability to recognize the pattern. The stage after the vision is understanding what has been seen and after that saving it as an identifying point so that it would be possible to recognize what the eyes have seen and the brain has understood. Recognition includes patterns that teach us how to understand a variety of messages such as familiar visual messages, dangers, categories, differences, and many concepts and forms in our surroundings. The main issue of the present investigation is to study the facts and relations of the object recognition patterns that play a role in the fundamental process of visual understanding and analyze these patterns in different resources of the cognitive sciences, particularly cognitive psychology. So that the way of interaction in the brain will be analyzed through this perspective and the resulted relations can be used for a more humanistic design. Therefore, this paper is trying to first, realize what is the recognition process and at which stage it happens and following this to answer the question of whether these relations have any impact on the humanistic design and if there’s any connection among these two? And if the recognition patterns impact the designation, what are the achievements that can be reached for the designers in this arena? This investigation is being done through data collection from library resources and in form of a case study, and it tries to clarify the impact of visual understanding on the humanistic designation by citing the argued views in the field of cognitive psychology. Regarding the fact that the objects around us are comprehended by the brain, it’s of high importance to study how visual comprehension works and its impact on the designation. Recently, neuroscience has been improved significantly in identifying the abilities of the brain and creating brain measuring tools and these improvements have helped the cognitive sciences and consequently cognitive sciences.The association between design and cognition is one of the major subjects in the recent investigations which has been a field of interest for the investigators in this field. In this regard, the most important views in the field of recognition patterns have been examined and the result has been extracted as far as possible. Particularly, one of the most important views that have been argued the most, is the component integrity theory. This investigation is based on the implicit studies and various documents in the field of cognitive psychology, it offers 10 final recommendations for the designers so that they’ll be able to have a design more proportionate to the human cognitive abilities. These 10 recommendations are general statements and each of them is trying to guide the cognitive designers not accurately and specifically but generally.These ten propositions prove two basic things. First, it shows that the knowledge of cognitive science can help designers to make their design according to human mental limitations. Second, it is possible to extract some achievements from these theories which lead to general rules for a human-centered visual design according to these achievements. Finally, this research deals with the fact that knowing the pattern recognition and considering them in the design creates more integration in the perception of the design, faster understanding of the visual relationships by the user, and considering the overall structure to differentiate between the shapes. This research indicates that visual noise should be avoided in design and visual signals of the target should be placed in front of the eyes of the design audience as much as possible. Wrong or ineffective signals make the reading of the design more intricate and increase the cognitive load. On the other hand, the model of cognitive devils presents us, what are the stages of perception from this theory, which part of the image is understood earlier and easier than the others, and basically what are the stages of visual perception. In line with what was stated, the research deals with how visual search is done and how to reduce the visual search time for the user so that the user can understand the design as quickly and simply as possible.

Fractal art can be presented in simple, reproducible language that is at the same time orderly in the postmodern world. In fractal art, such as visual arts, visual elements such as dots, lines, surfaces, etc. have been used to combine and repeat them and have been expressed in complex shapes and beautiful visual textures. Fractal is an interdisciplinary art related to geometry and mathematics and plays a major role in today's world. It should be said that fractal knowledge makes a unique design possible for the artist. This study intends to investigate the role of fractals in Iranian cultural symbols. In this research, we seek to find fractal applications in signs and with the concern of the audience and the nature of naturalism of art, how can effective and practical solutions be obtained from fractal geometry and new visual patterns in interaction with the audience. The purpose of this study is to get acquainted with fractal geometry and its effect on art; through analysis, adaptation and scientific studies on this geometry, new and practical designs of signs could be achieved. The question arises in which part of art, the traces of fractal geometry can be seen more and it seems that fractal geometry as one of the important tools with a scientific basis in the direction of graphic art can be used more. The research method of this research is descriptive-analytical and the method of collecting information in the form of documents and specific sources about fractals and signs is scattered and more in the form of articles. Fractal has the ability to be widely used as a theoretical basis in logo design.

Valuing and purchasing visual artistic works such as painting is due to the aesthetic perception of people which depends on both factors of form as well as style and technique and it also needs the basic visual culture and knowledge. By culture and cultural capital, we mean cultural consumption which is formed by cultural requirements of the audiences, those requirement which based on Bourdieu researches are the product of the environment and people's nourishment and are in direct relationship with the education as well as training and unlike basic needs which are internal, they have been developed. Considering the measure of people's consumption and their tendencies to attain the cultural capital‚ we need to know artistic tastes and talents of them. On the other hands‚ during these years‚ lots of changing tastes and talents like people's visual taste has been occurred in social and cultural fields in Iran. As far as it can be said that Bourdieu's classifications of tastes field has not been matched with current society and it seems that we cannot consider art as main works and rough core of culture in Iran. Based on being equipped with special symbolic code and having a special kind of cultural capital‚ we need to find out the valuation of painting as common art as music‚ sculpture‚ theater and literature in Bourdieu's classification. In spite of education democratization policy in Iran and access to long term educations‚ it is not easy to access the enjoyment of common taste in practice‚ so artists‚ art students‚ and some groups who have been raised in their family and artistic environment are all the fan of common art. The taste field sociologists such as Bourdieu believe that people's taste‚ education‚ and talents‚ are sociable totally and achieved as a result of the social process through education‚ family education and the habits that a person has acquired throughout life. The Bourdieu's view experiences exposure to art work is not as a love at first glance‚ and the activity of sympathizing and being accompany with art has shaped with the assumption based on recognizing and long term education. Purpose of this research is studying effective factors in Iranian contemporary painting works purchase in which it displays kind of cultural consumption. Other factors that are considered in this article‚ include economic‚ social‚ and personal capitals. This research applies a descriptive-explanatory technique to gain some variables from the available literature as well as previous measurements. Through forming them in a conceptual module, it is tried to confirm the relationships among the variables through using questionnaires and its complement, i.e. interviews and finally Confirmatory Factor Analysis Test. Finally the ultimate model is supplied through explanation and equation. According to this model, factors like structural ones (social structure) which affect mutually and significantly the economic and cultural factors are the most influential factors in the purchase and consumption of the artistic works. Also the social capital which is to somehow the result and consequence of the social structure is influenced greatly by the two-sided relationship with the cultural factor. Cultural factor also includes the variables of cultural capital, artistic professional processes and some human development factors such as the amount of study, education and so on. According to the findings of the social structure factor, the economic as well as social capital factors are deeply influence and are affected by one another. On the other hand, the cultural factor has a two-sided relationship with economic factor which includes economic profit and business and investment motivations and is influenced by the economic macro criteria such as inflation rate and income per capita. Therefore, some interconnected policy-making, governmental and structural variables and factors affect greatly the economic, social as well as cultural parameters and factors. The inclination and interest affect the purchase and consumption of the artistic works, paintings in particular and in order to improve the situation of purchase and develop this art, these relationships need special attention and more study. Studying the relationships between the factors and variables and also the way they affect or get affected along with the interaction among them can be the issue of the future studies and the basic for audiences' sociological analyses as well as the economy of painting.

Mural painting is of urban arts with remarkable capacities, urban functions, cultural and historical structure. The presence of this art in urban spaces and applying it in culture, national identity, urban social life, trading, advertising and citizenship education is undeniable.Mural painting is one of visual arts divisions. Whatever organizes our recognition from our environment is an image that forms in our mind from that environment. Indication, broadcasting and stabilization of cultural positon and identity foundations in Iranian cities can be achieved through mural paintings which help adjusting the city appearance with its ideal identity and culture. The importance of image in city, especially when it is presented in the form of an art work, is through the way that can have different functions and play role in different positions. There are three functions and performances for mural painting as urban art images such as ''artistic'', ''communicative'' and ''application'' in three realms of ''visual arts'', ''social communications'' and ''architectureurbanity'' that influence city landscape, framework and spaces.The present paper with an analytic-descriptive method aims to explaine mural paintings functions in city identity and help remaking of Iranian-Islamic identity in Iranian cities. The identifying role of urban mural painting can be known and explained through exploration of its functions in its peripheral scopes as ''visual arts'', ''social communication'' and ''architecture-urbanity''. Three aspects of ''artistic-cultural values'', ''discourse and media capacity'' and also ''aesthetic and ornamental functions''are the important social realms in which the influences of mural painting can be detected, evaluated and achieved. They also make it clear that urban mural painting has specific capacities in identification of urban spaces with its historical, artistic, cultural and social bases. The identity given to Iranian-Islamic city by mural painting can be achieved through broadcasting and stabilization of explained standards for Islamic city in realms of art, communication and architecture.