Google tag manager mobile browser. The Encyclopedia of Internet Marketing: What is Google Tag Manager and How to Use It. Connecting Yandex Metrica via GTM

Each site can be divided into two main components:

1. Meaning.
Responsible for solving user problems, i.e. helps to buy, find out, leave a comment or contact the user, using the title, text blocks, indicators, facts, etc. From all the input information that we have at the very beginning, a sitemap is formed that solves the user's tasks.

The prototype that we talked about in the previous articles on Web-design very well conveys the meaning of the site. After all, a prototype is purely conditional scheme, whose task is without emotion, but purely pragmatic, to provide content and logic of user behavior on the site.

The work on the semantic part of the site is being carried out not by one, but by several specialists:
- Content manager (in large companies and web studios, it is this person who communicates with the customer, getting all the information for the UX designer-designer).
- Art director (this person is involved in all stages of website creation).
- UX designer (he has the task of working with content and information structure project; this person works with such a concept as "user behavior", ie he knows how to logically correctly and consistently place controls on the site, where you need to make accents, etc.).

Thus, it turns out that meaning - this is a kind of functional skeleton, from which you need to start working on our site.

2. Emotions.
it visual communication design site that helps convey the style and spirit of the entire project. The main role in this part is played by the web designer, who uses various techniques, techniques, rules and other goodies to solve an emotional problem. The role of the designer is to work correctly with the user through the visual channel, conveying the semantic component of the site.

The main tools for transmission emotions on the web serve:
- colors
- illustrations
- photos
- icons
- UI style
- fonts (not the text itself, namely the fonts, which in good sites very competently convey the style)

To correctly convey emotions, a designer must think in generally accepted stereotypes, but add his own style. For example, if a site is being developed for a children's development center, then it is clear that the site will not be black and white with strict laconic forms - the way users perceive a particular topic at the subconscious level plays a role here.

A very good tool for demonstrating the emotional component of the site is a moodboard - a collage (made of paper or made programmatically), which collects all the general visual ideas of the site - colors, photos, textures, fonts, etc.

The following specialists are involved in the visual image:
- Designer (works with the assembly of the entire visual part of the site).
- Art director (here he acts as an art director, mentor and assistant and designer, when he, in turn, faces a stage of despair).
- Graphic Designer (the person who will draw icons and illustrations for the site).
- Technical designer (engaged in applied technical work - processing photos, organizing some visual information, etc.).

We will continue to indulge you with Web Design buns in other articles.
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We live in a visually communicative, competitive world, the main value of which is information. Now not only manufacturers and those that provide services compete with each other - their information and image resource is fighting for spheres of influence on a potential consumer. It should be noted that social problems (information about them) also exist in the competition for the attention of society to itself.

Visual communications - communications (information transfer) through visual language (images, signs, images, typography, infographics) on the one hand and visual perception (organs of vision, psychology of perception) on the other.

"Visual communications", "communicative design" are quite new concepts in design. Visual communication signs are created in accordance with the peculiarities of the subject-spatial environment for which they are intended. Signs form an integral system with common semantic and graphic characteristics, which creates the need to introduce restrictions on the type of space.

In an everyday, vulgar sense, visual communication can be defined as something that I see. However, today visual communication is extremely developed and complicated both at the level of language and at the level of perception due to the active development of visual art and electronic and digital technologies.

Visual communications in modern society are increasingly moving away from the role of a passive mediator, "overgrown" with codes and (especially in advertising) acquire a pronounced manipulative character.

Visual communications have carried out a powerful expansion into all spheres of culture and have consolidated such concepts as visual text, visual language, visual culture in the operational field. Visual communication is one of the basic components of modern mass media, creating a visual interface for the transmission and consumption of information, as well as transforming and translating, in turn, any information into a visual language (images and press portraits, photos from the scene and a television picture in real time mode).

In visual communication, the results of the processes will be:

Sculpture, Design, Architecture (visual-object procedural type);

Graphics, Painting, Photography (visual-graphic procedural type);

Mechanics, Optics, Electronics (Visual-dynamic procedural type).

It should also be noted that such means of visual communication as theater, cinema, the Internet combine the properties of verbal and visual communications, therefore they can be attributed to the procedural-dynamic type of communication.

Based on the foregoing, the General system of visual communication can be described in the following scheme: Subject (Author) - Type of communication (Idea) - Type of communication (Process) - Result of communication (Object).

The communicative view of the visual-graphic system is built in the following chain: Author (Graphic Designer) - Communicative view (Visual) - Procedural type (Visual-graphic) - Objective result (Graphics). It is also not difficult to build other visual communication systems.

However, it is necessary to define what visual communication is. Visual communication is a system of compositional elements united by communicative links. From this definition, it follows that the process of designing visual communications consists of two main parts that make up the essence of the design.

Figure: 1.1. General communication scheme

Today, much attention is paid to the design of the environment space. One of the topical elements of space structuring are information carriers, signs of visual communication that represent various data to a person. Visual information Systems cover a wide range of problems: they contribute to orientation, assessment of the aesthetic and emotional characteristics of the surrounding space. Most of the research on visual communications is devoted to the urban environment, but the problem of creating information blocks in the tourist environment, where it is also necessary, has not been fully disclosed; it is required to outline the features of introducing information signs into the natural environment.

Photography, cinematography, television, print design, computer networks and them software - this is just an incomplete list of forms of social activity that generate what is now commonly called a) "visibility", the spectacularity of any object of reality, b) "visualization of information", or the creation of an analogue of something or someone in a visual visual form, c) "visual culture", samples of human ability to image and visual messages, etc. In this row there is a place for the term "visual communication", which can be summarized as the transmission / reception of any knowledge and information in direct display mode or transformation into a visual image.

That visual communication is becoming a powerful mental resource today social change, many phenomena of Russian reality speak eloquently. Thus, our country over the past twenty years has turned from the most reading in the world into a “society of TV viewers”. Television has become the main channel of information for the majority of our citizens. Moreover, it functions as a system of commercial enterprises, the goal of which is high profitability. To this end, not only the material and technical base of TV broadcasting, but also the composition, structure and content are being transformed and improved. information resources... However, in everyday life many Russians today have not only a TV, but also other screen devices: personal Computer, video equipment, home theater, portable player, mobile phone – technical devices, thanks to which visual communication turns into a purely individualized way of meeting social needs.

Publicly available means of communication, multimedia technologies for creating visual images and images, being visually recognizable fragments of reality, real or fictional, activate, first of all, various aspects of people's emotional experience, contribute to the development of stereotypes of identification with a particular social group. Perception and cognition of such information sometimes does without reduction to primary linguistic signs, verbal “equipment of the mind”, which contributes to the formation of a person's ideas about the world around him and the forms of realization of his social activity.

The visual and spectacular information and communication content of the modern social space is a weighty reason for formulating the problem of visual communication as one of the specific resources of social identification.

In order to be perceived and competitive, information is presented in the form of emotional visual messages, which in turn form the visual text. Visual messages (texts), which become carriers: sign, poster, advertising card, label, packaging, video, visual presentation, etc. - "entwine" a network of ideas, representations, associations accumulated over the entire history of human existence. Concepts and ideas that do not rely on realistic, logical calculations-attitudes begin to take a significant place. Normativeness, logocentrism, characteristic of the perception of a classical work, are not suitable for understanding a modern visual product, from it, as a rule, it has a multi-aspect content and an orientation towards multilayer perception.

So, to the extent that a graphic design product is a sign or a sign system, and the quality of a message primarily depends on the quality of a sign, its creation / perception requires language skills and a sense of context. Hence, the visual language of graphic design as a sign system that ensures the communication process needs to be understood on the present stage development.

Analysis of recent studies and results obtained. In the 60s of the XX century, one of the most popular socio-philosophical doctrines in the West was the theory of communication explosion of the Canadian professor M. Mayupoen. In the history of the development of society, he singles out two major communicative revolutions, the first of which began with the printing of Gutenberg; the second marked by the "electronic and electrical mass communication" XX century. The reality or environment, according to the terminology of M. Mayupoen, is not what it is, but how it is youthfully designed and presented to a person by means of communication. In the 1990s, P. Rodkin, relying on M. Mayupoen, develops his own theory, considering graphic design as the basis for a new communicative revolution.

Already in the 1970s, O. Chernevich emphasized that the communicative function comes to the fore in the graphics that serve pedagogy (optimal visualization of educational material), science (visual languages \u200b\u200bof mathematics, physics, logic), transport, etc. The researcher predicts that with the development of science and technology, in connection with the information crisis and a number of other factors of the modern world, life in the future industrial society will be impossible without optimal visualization of information.

In his monograph "The Language of Graphic Design", analyzing Western concepts, in particular, L. Leisegant, who defines graphic design as "a strategy for visualizing abstract information", O. Chernevich draws attention that L. Leisegant understands graphic design as "an optimal processing strategy information, which itself is neutral, in the direction of its definite interpretation ”, and“ the task of the designer is to transform information into visual signals that are interpreted unambiguously ”. It is L. Leisegant who introduces and explains the definition of graphic design as "functional" or "analytical communication strategy".

Dwelling on the problem of visualization in graphic design, O. Chernevich emphasizes the necessity of the existence of a “visual installation”, the meaning of which is that “it makes the object of the installation - the visual land of the world - important, meaningful, one that makes sense”. "A visual setting gives a person the world in the form of text - this is its meaning."

O. Chernevich considers the text as a semiotic concept: any object that is perceived and understood as a system of signs, explaining that “the material substance of an object-sign can be very different at the same time, and as a text in semiotics, written and oral language, sequence graphic or sculptural images, architectural complexes, musical phrases, household items, gestures, etc. " ...

According to O. Chernevich, "a visual text, in fact, is any object that is perceived visually and as a sign system." In her opinion, “the match label, the corporate identity, the TV screen saver, and the train schedule are all visual texts of varying complexity. specific message and are guided by its visible perception. "

Designing the subject environment as a visual text contributed to the deepening of the value attitude towards it. " She rozmirkovuє that “since design allows you to change the visual accounting of the world, the designer must be able to distinguish between forms that are visually significant and not significant, and for this, it is necessary to have, in addition to the visual setting, and visual values. ...

O. Chernevich notes that it is in this sense that design is understood as visualization, i.e. as a process of visual ordering of the world and the fight against visual chaos [ibid.]. "The entire world of objects must have visual value!" - this is the slogan of professional design, declares O. Chernevich [ibid.]. For O. Chernevich, "a conscious mindset on designing a text-message, system and environment as a visual text is a visual design."

“The allocation of visual text as an independent design object is primarily associated with applied graphics and graphic design,” the researcher remarks, “where clear addressing of information is a necessary condition for normal work”.

She also draws attention to the fact that visual text can be not only an inscription, symbol, image, etc., but also a car, interior, street, if they are clearly oriented towards the visual installation of the consumer. Pointing out that in relation to a multitude of individual texts, language is their system (code, invariant), the researcher distinguishes two categories of practical design: designing visual communications and designing a visual language as such, emphasizing a broad and tactful command of visual language, as far as the designer adheres to and develops the rules of language behavior.

It is clear that the visual language of graphic design has its own structure, formed by a variety of endless configurations of expressive language units. Although in the plastic arts it is rather difficult to single out the minimum discrete units, based on which it would be possible to build an appropriate sign system. In the pictorial order, there are no clearly marked units that could once and for all be reduced to a certain catalog. For example, in graphic design (the latter is located in the outskirts of imagery and design), a dot can mean itself and many other things. Its meaning each time depends on the specific formulation of the problem, it is always contextual.

The fundamental difference between the visual language of graphic design and the language itself is fatigue, which graphic design does not have its own alphabet (a finite number of letters-phonemes), as well as a finite number of words endowed with generally accepted meanings. their absence significantly complicates the understanding of his visual language as a system, a system of codes, where a point, line, spot, texture, color in endless configurations form plastic messages. Regardless of the complexity of inventing such a system, artists and philosophers (V. Kandinsky, L. Prieto, B. Koküla, K. Peyrute, etc.) tried to develop a plastic language with which one could “read” works of art.

Therefore, considering the visual language of graphic design as a communication system, let us turn to the key concepts: communication, communication, language, sign, message, text in order to find out their specific characteristics in the context of graphic design tasks.

So, communication is one of the types of general directional communication. It is carried out with the help of signals, signs directed from one object to another, and finds its expression in communicative acts of a natural and social nature. Communication of various forms is unified in its essence - the essence of communication consists in the transmission of a message, while information does not possess this immediacy. The communication process can be either narrowly directed, when information is intended for single receivers of information, and broadly directed, when the transmission of a message is intended for multiple systems simultaneously. The process involves a subset of receiving systems.

It should be emphasized that it is the multi-directional messaging process inherent in graphic design.

However, information exchange becomes possible only under conditions of significant non-identity of information potentials different systems... Moreover, this difference should exceed the resistance of the information channel. The higher the advantage, the more intensive the information flow. That is why graphic design is forced to constantly develop new visual stereotypes. Because an outdated, biased stereotype becomes the reason for the suspension of the information flow.

Communication is a social management tool. This tool turns out to be universal and, manifesting itself in different ways, is an integral social formation, a universal mechanism of social interaction.

Thus, the visual language of graphic design is a tool of social management and the better it is constructed, the more highest degree useful action.

Social communication is sometimes equated with the concept of communication. In the article "Art in the System of Social Communication" V. Mitin, referring to M. Kagan, emphasizes that communication is a one-way connection, and communication is intersubjective relationships, i.e. such activity of the subject, which is addressed to another subject, not an object. For M. Kagan, the attitude towards another subject is compiled into equal practices as material, practical communication of people in their general labor activity, and at the information level - as spiritual communication. So, in the process of communication, it is not the transfer of what you know yourself to another, but the general production of common ideas, ideals, views, etc. achievement by common efforts of spiritual community.

The system of communication links not only covers personal channels of human interaction, but also includes continuity and the transfer of values \u200b\u200bfrom one generation to another. According to O. Kazinov, "without an ordered, formalized and therefore limited discipline of communication, there is no possible community of people as participants in a real historical process."

Language is a tool and universal means of communication. It is she who allows you to preserve and transfer the accumulated experience from one generation to another. Language is a means of storing and transmitting information, one of the ways to control human behavior. Accordingly, a visual language is a language system that uses visual messages to transmit and store information, which are composed of specific discrete units (signs), combined into peculiar constructions that have specific formal characteristics. The visual language of graphic design is a means of presenting information, where the quality of information is determined by a sign / system of signs.

A sign is a unit of a language system, an elementary component that preserves the features of the language system as a whole. According to the generally accepted understanding, a sign is a unity, a stable connection between a certain linguistic content and linguistic expressiveness, with the help of which the content can be expressed and retained in a sign. However, according to O. Chernevich, according to the fundamental unity of the plans of content and expressiveness in graphic design, any definition of a sign using these categories is tautological and carries nothing but a statement about the existence, differences and connections of these plans.

To some extent, visual communication acts as the primary form of visual language. In graphic design, it is also a sign that has absolute primacy over meaning, and becomes separated from the real process of communication and independent of its participants (the one who transmits and the one who receives). Thanks to the message, the expressed becomes independent from both the author and the recipient, and from what in question... Being embodied in texts, messages create an open context, an unlimited textual field, where each text is included in a kind of "play of mirrors", referring to other texts, without the ability to understand which of them is primary.

For example, a poster is a classic visual message of graphic design, while an environmental poster exhibition is a visual text from a given issue. The sum total of exhibition events on environmental topics, their reflections in print, television, and the Internet constitute visual hypertext.

Today, text is the entire socio-cultural reality, the text of symbols, signs, artifacts, where the leading place is occupied by texts built on visual media, embodied in printing, multimedia products, on the screen. If for a verbal description the characteristic duration of perception, then in visual texts the content is close to the surface, it is visible, visualized. If in the XX century the content of a sign in graphic design is almost unambiguous, and text is understood as an ordinary verbal text, then in the XXI century visuality replaces the textual written cultural code.

Now we should consider the stages of the communication process and pay attention to their specific features in graphic design.

First stage: formulating an information concept. In graphic design, it begins with setting a task and creating a concept, i.e. what exactly and what kind of information needs to be conveyed. At the same time, the designer must clearly understand the purpose of the message and its motivation, namely: why it is being implemented and what should be achieved; understand the context (be aware of the correspondence of the concept to a specific situation).

Second step: coding. He begins with a sketching process, which can be called the primary process of encoding information. As a result, the concept of communication is transformed into a visual message, where the visual message becomes the product of the information coding process. The effectiveness of coding depends on the ability (talent) of the designer to turn the information that is intended for dissemination into expressive visual signs. Here, in addition to the talent of the designer, the degree of his awareness of information and socio-cultural environment (context) is important. At this stage, it is best to establish the optimal channel for transmitting the message. A communication channel is a means by which information is transmitted. The following factors influence the choice of the communication channel: the nature of the message that is transmitted; the type of characters used to encode information; weight and attractiveness of the channel for the addressee; specific advantages or disadvantages of this or that type of channel. To improve the effectiveness of communication, it is recommended to use two or more channels to transmit the same message. For example: printed advertising products and a set of banners on the site.

It should be noted that in graphic design, a visual message is an object of design and a communication channel: logo, poster, label, packaging, etc.

Third stage: transmission of the message. It will be transmitted over the channel and represents the delivery of the message from the sender to the addressee. At this stage, the impact of obstacles is significant. Obstacles are anything that distorts the essence or content of a message. Noises almost always accompany communications.

Noises in graphic design require separate consideration, however, it should be noted - this is, first of all, the context in which the message is perceived.

Fourth stage: decoding. Means shifting the received message into a form that is understandable for the recipient. When the characters chosen by the sender have the same meaning for the recipient of the message, when he understands what the sender meant. Sometimes the addressee interprets the essence and content of the message differently than the sender understood it.

In graphic design, this is a correct, non-distorted perception of the information concept, which in practice is expressed in the addressee's choice of attractive packaging, reaction to an ecological poster, a desire to attend that other concert, or purchase a magazine; it is a planned reaction to an advertising poster, poster, motivation to buy, services, etc.

The final stage of communication: feedback. A process in which the sender and receiver change roles. In the process feedback the recipient informs the sender of how he understood the content of the message. Of course, the presence of feedback increases the duration of communication, complicates the process, but increases its efficiency, and provides confidence in the correct interpretation of the concept of communication.

With regard to graphic design, advertising agencies and marketers are engaged in the analysis of the effectiveness of the message. They keep statistics on which channel works most efficiently, compare the information product with the original information concept and determine the degree of mutual understanding. In general, the success of a message lies in the effectiveness of the information concept, a clear definition of the language strategy and context, and a good choice of the transmission channel.

"Multimedia," say the Russian scientists M. Lukina and I. Fomichova, "is the ability to transfer messages in different sign systems - verbal, graphic, sound, photo, video, animation." Those. information acquires new forms of display, storage, it is transformed into various digital formats. "The basis of modern multimedia systems is the computer technology of combining informational textual data, sound signals and images in digital formats, which helps to reproduce them in display, print or other display, storage, copying and transmission without loss of quality through various channels and networks of information high-speed communications." ...

Having analyzed all these definitions, we can come to the conclusion that a multimedia unit does not exist as such. Multimedia is an unification, a combination of information units, which are visual, auditory and audiovisual content.

Visual content is formed by filling with visual content, this is the production and consumption of information in a visual form; the process of exchange, communication, communication between the addressee, channel and recipient at the level of visual receptors.

If we build a complete definition, then it will look like this: "Visual content is the content of a mass communication medium (in our case, it is a web resource), expressed using a visual language: images, signs, infographics, videos, etc." ... This content forms new channel communication, which in the XX century was called "visual communication". We should not forget about visual perception, which will play an extraordinary role in this process.

Classification of visual content. There are many classifications different types information, however, to define the concept of "visual content", two remain relevant:

1. For the way of human perception. Depending on the way in which information is received, there are five types of it: visual (or visual), auditory (or auditory), olfactory, gustatory, tactile.

2. According to the methods of processing, information is divided into numerical, text, graphic and sound.

For the nature of the information, visual mowing can be commercial (banners, animations), entertainment (photography, illustration and informational and infographics, video reporting) content, expressed in different formats simultaneously. As an example, you can take the information and analytical portal ua.korrespondent.net. On home page in the center - the logo from the site menu: on the right side - an advertising banner: slightly below - the multimedia section, placed in a separate panel; on the left side - a photo of an important event of the day, etc. This is a typical lowland content, characteristic of the day of all information portals.

In the context of the types of multimedia in Internet journalism, researcher V. Ryabichev developed the following classification: Audio (WAV, MP3. RAM): Video (MPEG. AVI. MOV): Graphics: animation (GIF), image (JPEG). Flash presentation (a complex object developed in 1986 by FutureWave using vector graphics).

As you can see, the developer in his classification was based on the format multimedia content... Nevertheless, it is not mentioned here about the text as part of multimedia, which B. Potyatishik calls it in his multimedia hierarchy of formats; it has such text (supplemented with graphics and photos), video, audio. The scientist considers graphics and photos to be an addition to the text part, and not independent components of media. This means that the visual content in its interpretation is text that complements the illustration.

We will give our classification of the formats of visual content: visual: text, infographics, photos, animation; audial: audio: audiovisual: video, animation, which is classified as both visual and audiovisual, as it is sometimes accompanied by sound. The animation is created in GIF format. "GIF. - at the thought of V. Ryabichev and Є. Karanov. Is one of the many digital image formats, which has a small size, high definition of the image, nevertheless operates with a limited number of colors, namely: 256.

Thanks to the animated effects, GIF has got into the category of the most popular graphic formats. The principle of creating these effects is based on the use of several static images-frames in turn. For each frame, the time of its illumination on the screen is indicated. The sequence of frames can be looped. This technology is often seen among advertising messages on the web. "

"Computer animation, - notes I. Mashchenko, revealing the essence of this method of displaying information, - a method of creating animated (drawn) film and video files using computers. Using the software, as well as databanks (archives, pictorial information) and drawings made on an electronic tablet, it is possible to get landscapes, scenes on the display screen, in which you can constantly make changes (with respect to the image scale, angle, perspective, lighting, etc. .P.)" .

Conclusions. In most cases, people now perceive information visually. This is due to the natural structure of their body, as well as to the development of technological means focused on visual images. Logo, clip scanning of the environment is inherent in our contemporary due to the global distribution of visual images created by entrepreneurial structures, the main motive of which is the promotion of a product or service, making a profit. The Internet is full of banners, streets - big boards, radio and television - audiovisual clips. In addition, with the help of modern technical aids, visual products can be created and replicated.

Visual content is composite multimedia that, together with textual content, represents part of the overall content of the web. This computer technology for displaying information determines the peculiarity of the Internet media. A huge array of text in combination with its interactive and responsiveness and puts this means of communication at the forefront.

IN global network it is the content that represents the main percentage of the information that is displayed different formats (video. image, photo, animation, etc.). They provide the media with new opportunities and benefits to convey messages to target audiences.

In terms of practical application, visual content is widely used in Internet communication. Practice is ahead of theoretical developments. There are a number of problems with the terminological basis of this computer-oriented method of displaying information. which is negatively indicated in the process of studying it in higher educational institutions, in the preparation of the scientific literature necessary for this. Today, you can name only a dozen professional publicationsin which the terminological base of this area is being developed. Domestic science needs national terminology, because this is a sign of becoming information society in Russia.

Thus, graphic design is a functional, analytical information visualization system. Its tasks are to transform information into visual signs that should be interpreted as expressively as possible. Accordingly, the visual language of graphic design is a means of presenting information. The sign / system of signs determines the quality of information, the better the sign, the higher the degree of usefulness. The visual language of graphic design is a sign system: to convey information, it uses visual messages, which are signs. In turn, messages form visual text, which, together with many other texts, constitutes the visual hypertext of the information environment.

The graphic design language is a social management tool. It ensures the continuity and transmission of values \u200b\u200bfrom one generation to the next. Without an ordered, formalized and therefore limited discipline of communication, there is no possible community of people as participants in the historical process. Language is a tool and a universal means of communication. The effectiveness of communication lies in coherence at all its stages: creating an information concept according to the context, defining a language strategy, choosing and creating a transmission channel that provides an effective perception of information, analytics.

Further scientific research is carried out in the direction of studying the visual language of graphic design from the standpoint of plastic syntax.