Algorithm for Automatic Layout of Graphic Language and Its Application in Graphic Design

Literature Review

In modern graphic design, graphics are used more and more widely. Whether it is a media advertisement or a corporate logo, graphics have become an integral part of these design links. Graphics are descriptive pictorial images whose purpose is to express to the audience the visual image they want to present or show a specific image, which is different from the visual expression brought by auditory and textual music (Petitpierre et al., 2024). Compared with auditory, graphic language is straightforward and realistic (Momeni Rad et al., 2024). Compared with words, it is more subtle and can give people unlimited space for reverie.

Formally, graphics have their particularities. First, they are a single element or a combination of several elements (Ricci et al., 2024). Second, they are a conscious depiction. Finally, they must be dominated by a specific ideology (Oucheikh & Harrie, 2024). Many people easily confuse graphics with logos and patterns, which are completely different concepts. Graphics cannot simply be defined as some kind of sign or symbol, nor can they be viewed from an aesthetic point of view. In its extensive design, graphics pay more attention to expressing language, humanistic spirit, and symbolic meaning. Text is the carrier of information (de la Parra et al., 2024). The use of words is essential in visual communication design in order to accurately convey various information.

As far as China is concerned, in the actual operation of the relevant design, the fonts used are mostly Chinese characters (He, 2024). This has certain advantages compared with other fonts, and its root lies in the superiority of Chinese characters (Vieira et al., 2024). The development history of Chinese characters can basically be equated with the development history of the Chinese nation (Kochański & Borkowski, 2024). In the graphical language description stage, the lack of strict standards leads to inaccurate model description results. This makes it difficult for the model to effectively support the layout control of the graphic language (Pitts & Fowler, 2024). Therefore, a new automatic typesetting algorithm of graphic language in graphic design is proposed. Experimental results show that the algorithm has better layout effect and higher user satisfaction (Kurylets & Goranin, 2024).

The literature on language on automatic layout algorithms in graphic design has evolved over the years (Mubinabonu & Sohib, 2024). Bharne and Bhaladhare (2024) proposed a method for designing cell libraries using symbolic layout and hierarchical compaction. Suresha et al. (2024) discussed automatic page layout using genetic algorithms for electronic albumin. Asgari and Hurtut (2024) introduced the active layout engine for variable data printing applications. Afolabi et al. (2024) explored structured layout for resizable background art. Recent studies by Soliman et al. (2024), Yudhanta and Hadinata (2024), and Adisusilo (2024) have focused on the application and development of automatic layout algorithms for graphic language in visual communication design. Blake et al. (2024) specifically addressed the automatic layout algorithm of graphic language in visual communication design. Lughbi et al. (2024) proposed a graphical language automatic scheduling algorithm for resource allocation in visual communication design. Jiang (2024) introduced a new algorithm for the automatic layout of graphic language in visual communication design under the new media context, emphasizing real-time decompression and rendering using programmable graphics hardware. These studies highlight the importance of automatic layout algorithms in enhancing the efficiency and effectiveness of the graphic design processes.