Tuesday, October 27, 2009

reading "anatomy of a visual message"

We learn and understand things visually. We may presume that we visually perceive what is real.

With our eyes we see what is real. We 'represent' reality visually with two dimensional objects being paintings, photography, or other methods of recording. A representational, two dimensional image is something that is as true to reality as possible.

In order to understand a real image in different ways, we simplify and focus on specific features of what we really see. Through this method of simplifying something that is real with a two dimensional image, we are able to better communicate certain specific aspects of reality.

Symbolic images are images that are considerably simplified in order to quickly and effectively communicate something visually. a symbolic image is something that can be produced quickly and often. It is an image that is abstracted to a certain extent, so that it can clearly represent its realistic (visual or conceptual) and more complex form.
Symbolism also has a connection with society, and how people develop certain visual characters (symbols) which are used frequently to communicate a specific message.

Monday, October 26, 2009

Visual Communication - Haiku








~LINE one:

1. reflection

2. aqua

3. fall/decend

4. bright (stars)

5. shine

6. inside

7. serene

8. quiet

9. blue/dark/chill

10. aqueous





~LINE two:

1. drench/soak

2. refresh

3. swift

4. surprise

5. shelter

6. promise

7. gleam/shine

8. raindrops

9. abate/cool/chill

10. shine





~LINE three

1. Ripple/dimple

2. wave

3. movement

4. fresh

5. smooth

6. fold

7. infusion

8. disappear

9. undulation

10. uprise (splash)/ elevate






Friday, October 23, 2009

CD&F UPDATE october 19 - 23

Learning formally about color is a good design experience. It is quite astonishing to see how important color is, and what a powerful tool it can be, if in the hands of a person who has a trained eye.

I was impressed to see the exact same yellow as a different... values(?) with two different colors behind it.


After much deliberation, I continued to become more confident in understanding the different concepts of balance, movement, figure-ground, proximity, and space with my juxtaposing photographs.


The whole process started out very simply. taking simple line studies and then manipulating them by hand with the different tools was an exercise that help to understand how significant a line could be. just two lines could easily show you a perfect example of a figure-ground relationship in an image. then to see these images change dramatically by making them curved and diagonal was interesting.

An exercise in photography was the next step. Taking all the lines studies that had been observed, and thinking how they would relate to real life imagery in Kansas City was not entirely an easy thing to do. It was important, in the beginning, not to try to find imagery that was too complex lest a formal juxtaposition between the line study and the photograph was too difficult to create.

Within the city, there are so many lines, and objects, and shapes and shades of color. It's quite overwhelming at first to compare the line studies with what one sees in such a large environment. But after much experimentation, things finally started to come together. Though it was difficult not to try to force two things together, however strong they might be in the end. One thing that was learned, which is important, is to let go and to move on when something does not work. It was a lesson in practicality.

Once a series of juxtaposition spreads of photographs and their corresponding line-studies had been developed, it became more clear how they could be changed in order to make the formal comparison more clear. It was necessary to often manipulate the photograph with digital tools, and and to change the sometimes rough/raw line study images so that they would be both visually appealing. A lot was learned by using photoshop to change the photographs, and there was a considerable amount of hand eye coordination that was developed in tracing the raw line-studies for the refining process.

Looking at the series as a whole was a further challenge. there were still more iterations and editing out of an entire spread at this point. It was important to find a good balance of imagery, and tone in order to keep the visual formality.

At the same time there was a vague, conceptual aspect to the configuration of all of the juxtaposed images. I tried to make sure that there was a variety in imagery and to make it clear that what the book was about was simply a modern and veritable metropolis. I liked to notice things that people didn't often bother to stop and look at - I wanted to focus on the things that are always seen, but never really thought of. S
The format of the book changes in by the middle. It goes: aB - aB - aB - Ba - Ba - Ba. This created a subtle, yet in some way noticeable change, which helps somewhat to keep the viewer engaged in what they are seeing, and to perhaps notice the unnoticed subtleties.


Thursday, October 22, 2009


It is encouraging to see the Paula Sher talk about her work, and how it affects NY, and how NY affects her. She is familiar with all different aspects of the city, which give her good insight into how she might design things for that environment. She says that everything she puts out has to be BIG AND LOUD in order for it to compete with all of the other elements of the great city.

Kansas city itself has its own moments of busyness, and its own unique aspects. In this last project, I was able to get out and view specific parts of the city, and with a critical eye I was able to observe certain aspects of the different areas.

Wednesday, October 21, 2009

Project 2 reading response

By working in graphic design, one begins to realize more and more the importance of focusing not only on the figure with in the picture, but also the ground and how it relates to the figure. As a graphic designer, it is important to see the balance, or imbalance, in an image. In the juxtapositions, it became clear how important the balance of the positive and negative of both the photograph and the line study. In arranging the images, it became clearer that the negative space might easily have more importance than the positive space, or ground. This idea is very intriguing. It is a concept that is very useful (if you are aware of it) as a tool when creating and arranging any image.

It is also important for a graphic designer to be aware of the framing of an image. In real life, we see frames surrounding us everywhere. Once we start to think about this, we notice frames in so many places in our environment, and begin to see and understand how frames work.

Jacques Derrida does the best job at understand and explaining the essence and function of a frame: ..."The frame is subservient to the content it surrounds, disappearing as we focus on the image or object on view, and yet the frame shapes our understanding of that content". After studying the lines, and comparing the photographs to the lines, the frames of each composition started to either 'pop out' if they were awkward, or 'fit in' if they were subtle and worked well. This is where experimentation on the cropping became vital for creating a well balanced and successful composition.

It is important to a graphic designer to remember that "frames are part of the fundamental architecture of graphic design" (Lupton).


Monday, October 19, 2009

CDF - ideas

Ideas for color

aged maps - Throughout the centuries, there have been a good many maps that have been produced. Old maps always have a quite distinct color. they often have very rich, interesting, and beautiful colors.

fruit - fruit is something which has a good deal of variety in shape and especially color. there are many different textures on fruit.

old posters - Old posters/lithographs are things that have an incredible use of color. Earlier through history they start out with a rather simplistic use of color, and later color in poster design becomes more complex.

Friday, October 16, 2009

CD&F update october 12-16

This week was spent on continuing our understanding of certain different visual concepts. During the continuation of the project that had begun in the previous week - where we were instructed to create digital, photographic imagery of our 3D letter form - I finally became considerably more acquainted with these many different ideas.

Despite how much time I spent thinking about how to make a three dimensional letter form convey the idea of transparency, or minimal detection was something of a challenge. My particular 3D letter form had it's own certain hinderances which became problematic as it inevitably lacks some dimensionality. However, getting feedback from the critique this friday helped me almost completely understand the idea of these concepts. As a result, I now feel a good deal more confident as I make my final iterations for my accordion book.

a: first image - the complete letter form
b: balance - stability
c: balance - instability




Wednesday, October 14, 2009

Text for vis. com

Possible titles:

a city in kansas

lines and curves of kansas city

kansas city north and south

basic bits of kansas city

elements of kansas city

juxtaposition in kansas city


Kansas city is a place with many beautiful locations. From north to south, the old part of the city is simply seething with

old, ornate architecture and modest but pleasant sky scraping skylines. Lines are in fact what actually define these characteristics of a place. By understanding the basic lines of the city, we begin to discover things that we've never seen before.

Tuesday, October 13, 2009

J + S

The simplicity and imagery of this 1930s poster is very appealing. The close proximity and the similarities in how each transportational device is visually manipulated makes for a good example of how one might use juxtaposition. The correlation of the car, train, plain and globe all going the same direction clearly and instantly communicates to any viewer the idea of motion and efficiency. The major similarity of each object in the image is the solid colors.
The text on the bottom nicely completes the image, with it's own juxtaposing aspects.

Monday, October 12, 2009

COLOR DRAWING FORM update oct. 12 - 16

This week, in Color, Drawing, and Form, I was able to continue and finalize my three dimensional letterform. It was a good exercise in understanding how to better develop my creative process.
After a series of refining events, I was able to come up with a more or less final solution as to how i was going to finalize my 12"x 14"x 6" three dimensional 'F'.

Naturally, there were a number of iterations and major decisions I had to make as I was finally assembling the sculpture.

Here are a few images of the sculpture (and tool that i used) which I was able to take during the work process:

COLOR DRAWING FORM update oct. 12 - 16

TYPOGRAPHY 1 FINAL e in motion

TYPOGRAPY 1 - Process - letter in motion

Friday, October 9, 2009



I received a considerable amount of insight from my group (Brandon, Raynaldo, Brit, Sarah)

~ I need to have more of a formal comparison in some of my compositions.
I intend to simplify with the vectorization process.

~I need to make sure to include more diagonals in some line studies.
I agreed.

~I must fix the pixillation in some photos.
This is important, and will improve the compositions.

~It was recommended that I simplify some line studies in order to help each composition seem more cohesive.
I intend to do this in the vectorization process.

~Density in lines, and various line widths are a key to making a composition interesting.
I will continue to look for such qualities in line studies.

~I should pay attention to the grayscale on the images. Does this help the composition?
Sometimes yes, sometimes no. I'll keep that in mind.

~I did a pretty good job on my vectorization drawings.
I'll keep that up...

~I might think about zooming in or out on some images in order to help with the formal comparison.
I intend to do this with one or two compositions.

~My photographs are mostly interesting.
This is important. Each image should make for a visually appealing composition.

~I should not include any space between photograph and line study on my spreadsheet.
So that i may fully understand the formal comparison.

~I continued to work on new compositions and to practice my vector drawings. Here are a few of the ones that I am currently working on:

Vector line drawings:

^ This is a vector line drawing of the last spreadsheet that is
shown above.

Exploring a possibility which has potential? Looking at the composition this way helps to give me new ideas at any rate.

Wednesday, October 7, 2009

MOST interesting.