Today, a high volume of multimedia information is transmitted in computer networks, such as the internet, that the requirement for achieving high security level against unauthorized access. the visual secret sharing scheme is a cryptographic system without requiring a secret key that is able to encrypt information in a multi - user computer network. in this research, a visual secret sharing scheme including two strategies for binary communications and multiple relationships were considered. in binary communications, an entity plays a role in the role of the server and an entity in the role of the client 's service in this strategy using a network - based visual secret sharing scheme ( 2 , 2 ) a secure approach to establish double relations where the provider entity is sending confidential information after authentication of the client 's service. then, two main phases of registration and verification are performed on the basis of the visual secret sharing scheme based on random networks. in tuple communication ( n , n ) an entity plays a role in the role of the server and several entities in the role of the service, and then two main phases of registration and verification are executed.

Background: The visual turn is one of the most important features of contemporary culture. Therefore, in climate change communication, images can play a crucial role in conveying environmental messages. Environmental advocates use the potential of visuals to deliver part of their messages to their audience. However, only a limited number of studies have focused on the visualization of climate change communication. Given the characteristics of social media, free from the constraints of mainstream media, they can serve as a suitable platform for visualizing climate change messages.Aims: Despite Iran's role in greenhouse gas emissions and the engagement of environmental activists, no research has been conducted on the role of images in conveying climate change messages on Iranian social media. Therefore, the main question of this research is: How do Iranian users on social media platform X frame climate change through images, and within what discourses?Methodology: To answer the question of the research, a combination of quantitative and qualitative visual discourse analysis was applied to 500 images in 2023.Findings: Studies on the visualization of climate change messages have predominantly focused on developed countries. The findings reveal that Iranian users have addressed climate change through four key discourses: scientific, political, ecological, and protest. Furthermore, the results show that visual discourses have been seen globally in Persian X and it has addressed the present tense and the framework of the consequences.Conclusion: In general, the public's attention to climate change in Iranian society reflects the dynamism of the environmental movement in Iran and the growth of environmental literacy among Iranian social media users.

Nastaliq developed in Iran from Naskh beginning in the 13th century and remains very widely used in Persian-speaking countries and for written poetry and as a form of art. The version of Khajavi Kermani's Masnavi by Mir Ali Ibn Ilyas Tabrizi (preserved in the British Library) is one of the exquisite and early examples of Nastaliq calligraphy. Considering the age and quality of this copy, compared to the only remaining copy of the Nastaliq script of the famous Mir Ali Tabrizi (Khosro and Shirin Nizami version), this research aims to study the characteristics of texts, titles, objective and governing perceptual visual communication, dots and the methods of applying the baseline and grading. The method of conducting the present research is descriptive and analytical, and data is gained from library research. According to the findings, in the version of Khajavi Kermani's Masnavi, despite the age of the version and the primitiveness of the Nastaliq script, the calligrapher has achieved a remarkable harmony and exquisiteness due to observing the perceptual (hidden) visual communication throughout the page. Observance of this importance in the mentioned version and its organization has been made possible by lines, punctuation and specific calligraphic acts, whose lines and angles have assumed the main role of visual guidance along the page,thus, most letters influence the feature preceding. Also, the high quality of the writing in the titles of the edition compared to the text, artistic taste and mastery of the calligrapher's handwriting (despite the primitiveness of the edition) are also noteworthy.

Graphic design tries to convey the message to the viewers through an effective and innovative process. It includes a wide variety of branches such as book illustration, trademark design, motion pictures, packaging, web site design, etc, all of which try to meet three basic functions: giving information or instruction, making introduced and identity presentation and advertisement or promotion. Each distinct function communicates with the viewer through a different way. Like other forms of visual media, graphic design conveys the messages through three different ways: representational (or simulation of nature), abstract and symbolic (or encoding).Different messages are generally expressed by different modes of graphic design approaches. The present study focused on representation approach in graphic design and on its justification usage. To meet this end, this study first addressed the content of representational approach, its different kinds and the ways it worked in graphically designed works for graphic design students and all those interested in this field. Meanwhile, different ways of communication as well as how they can be realized graphically were addressed. Since creativity always plays a major role in graphic design and seemingly representational expression conflicts with creativity, the present study aimed to make clear the relationship between creativity and representational expression. The main questions posed here include 1- In what ways representation is realized in graphic design? 2- Basically what intention is met by graphic representation.3- How is a creative graphic representation possible? The data were collected based on library sources and on certain graphic designs. The results of this applied research were analyzed descriptively. The results indicated that in all three functions of graphic design mentioned earlier, certain objectives are met including believability, introducing, straightforward communication, attracting attention, establishing credibility, guiding direction, being convinced.