![]() Sophomore graphic design students were the participants of the three studies, and three educators were the participants in both public and private universities in studies two and three. The first two studies included the four-group Solomon design. The dissertation includes three research studies: The Experimental Design, the Randomized Design or the Correlational Design, and the Comparative Design. The dissertation examines the effect of Golden Ratio on enhancing the composition of both Balance and Aesthetics and sheds light on the difference between the Rule of Thirds’ grid and the Golden Ratio grids in high education graphic design sophomore classes in one public and one private university along three academic years. Another problem is that teaching the Golden Ratio has been mildly integrated in the Lebanese higher education curriculum. Graphic design students are not well introduced to the Golden Ratio grids which stand as important tools for solving layout problems. ![]() ![]() In Lebanese higher education, graphic design students face difficulty in applying the elements of design and the principles of design in their artwork. Some research has discussed the Composition Aesthetics and the layout problems of graphic design. It is suggested that formal analysis of the elements and principles of prehistoric art can be engaged in alliance with iconographic study, not only to define the characteristic features of Aegean art, as has been done in the past, but also to explore Aegean art’s deeper emotional meaning as it impacted the viewer and shaped the prehistoric visual environment. Three canonical artworks (the Spring Fresco of Delta 2, Akrotiri, Thera the Cupbearer and Procession Frescoes of Knossos, Crete and a Mycenaean phi figurine) are discussed to explore how each artwork’s expressive and emotional content was purposely developed to support its symbolic meanings as understood through traditional iconographic method. This investigation explores how artists of the Aegean Bronze Age incorporated expressive content through intentional engagement of artistic form as developed through the visual elements (line, texture, color, value, shape and space) and the principles of organization (harmony, variety, balance, proportion, dominance, movement, and economy). Abstract: The iconographic meanings of Aegean art have long been the subject of scholarly investigation, but comparatively little attention has been paid to that other major component of artistic content: emotion, and the emotional impact that art makes upon the viewer.
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