Showing posts with label Visual Communication. Show all posts
Showing posts with label Visual Communication. Show all posts

Tuesday, December 8, 2009

final reflection



Reflecting over this semester as a whole, and looking through my process binders throughout the course there were several different objectives that correlate and contrast. In the first project the Dot Book , the importance of process and its role of developing and seeing the changes until the final artifact is created is important in the developing. Iterations and creating as many thumbnails and sketches as possible to approach basic ideas or concepts in a different and interesting way. In project one layout and spatial relationships among the element was another objective. The importance of simultaneity was explained in our first project and they way image, text and color can occur at the same time and its layering. The importance of how we "see" and image and how we read "text".
In project 2 Generative Line Investigation, objectives in project 2 constituted activating space through rhythm, texture planes and figure/ ground relationships and using the digital tools to manipulate and approach refinement in digital craft. During this project just like at the beginning of the first project , group projects and therefore relying and understanding how to work and communicate ideas in a group. Juxtaposition was another principle that I learned during the second project, finding similarities between elements. The importance of digital translation was emphasized to understand the importance of high level sensitivity to line quality and craft.
In this last project 3, just as like in the other two projects emphasized in visual language and being able to communicate through iconic shapes. The creation of this shapes to begin with were created first abstractly using untraditional objects. The importance of text and image, the different roles that text could have in wether to emphasized meaning or contrast it. Iterations where important in all three projects and having different versions of the same idea allows for the selection and avoiding the expected , it allows to bring something different. In my line book (project 2), I didn't edit my pages to the selective few that suited my concept. In this last project I simplify my marks and I only used those marks that were the only ones suitable for my concept of the Sumi-e. The process is very important in all three projects and definitely something that I will bring in the spring semester. I learned to paid attention to digital craft and my craft and this are principles that I will definitely continue to improve even in my spring semester. The principle of finding correspondence and editing, I used for my taxonomy I found marks that related in structure and their relationships to each other. I also relied in a group in deciding my layout for my dividers, which among my class as in the other projects they are my audience and wether my way of communicating was coming across. I don't think that I have master anything yet because I feel that there is always room for improvement, I hope that for the next semester my skills improve and my visual language improves.

One of my process iteration that I presented for my Dot Book was for the word "influence":




After this last project, I realized the importance that in regards to what you are trying to communicate it has to come across and visually understandable. This iteration was not on my final artifact, yet I realized that even though I was using abstraction to communicate the word influence. The proximity of the circles reflect moving away instead of coming towards it. My digital craft in the middle trying to create the compound shape is not refine. I was really looking at the spatial relationship, and figure/ background and is relationship with the element. As well is too much , in the final project it taught me to break even the most complicated concepts into their core geometric individuality. I should have done the same when I was creating this iteration.

project evolution


TAKE THE ROUND FLAT MOON

SNAP THIS TWIG
FOR HANDLE...
WHAT A PRETTY FAN!

This project main objective was to understand the relationship between meaning and form, understanding the process and the aesthetic of mark making and creating shapes. Creating abstract shapes and turning them to symbols, a more universal language. Time and motion and their role in connecting time and space. I have 3 shapes for each of the line of the haiku above. These shapes were used for a final animation using Flash to animate this static shapes and the use of text to emphasize their meaning.

Tool Documentation



Linear Progressions

Line 1: Take the round flat moon



Line 2: Snap this twig for handle...






Line 3: What a pretty fan!






Final Storyboard

Music in animation: Ultimate Relaxation Music -Unwinding Part 1 by Robert Norton

Video: Paul Rand


Paul Rand ( August 15, 1914- November 26, 1996) was a well known graphic designer, he is known for his corporate logos such as the IBM, UPS and ABC. He attended Pratt Institute and Parsons School of Design. He designed many posters and cooperate identities as already mentioned. His early work in page design was the beginning of his reputation. Some of the transitions that I could identify are:

panning
zoom
wipe

my reactions to Paul Rand statements about design are: in the beginning he describes the way that design means differently for each person, I agree with that and the importance in the visual world to be aware that we all have different view points. He talks about the importance of form and content, both of them create something interesting. I think that there area a combination of elements and formal properties in order to make a piece of art work work, but if you have too much content then it take away from the form and if you have too much and not so much content the interest s gone. I think in design is the balance of both.

final taxonomy




My catalog of marks is finalized and the final artifact is 6"x 11" , and titled "The Trajectory of Marks". It has been altered since my last proposals, in regards to my binding style, the final book was bounded using the Japanese stab binding technique using just three holes to keep the simplicity described in the philosophy of the Sumi-e. The final layout of my book turned out to be a titled page, an introduction paragraph (describing the Sumi-e and the concept behind my project) and my connotative words is just down to pure geometric shapes. The final layout for my divider pages was discussed in the final critique, this layout decision was selected and picked among my peers and this layout was the one I decided to use, which has the geometric shape, the chinese characters and then the word.
My denotative words they described the trace left behind of an element:
For Example: Denotative: Circle
Connotative


It describes the stages of the moon as it travels or it's moon trail:


From left to right : moon, waning, half-moon, new

In regards to my proposed binding the craft quality was not yet to the refinement that I wanted to be. I was trying to create a different way in creating an accordion book, as described in my second proposal and using the mesh used for book binding as way to adhere the pages, as described below.





I decided to used a textured watercolor paper which had big issues printing but this was the best that I could possibly have it printing, with me keeping the textured quality of the paper.
In this project I learned to implement editing and carefully selecting the marks that would facilitate in communicating the concept of the Sumi-e and the progression of a more structural mark to a less structural mark. This book embodies my interpretation of the process of mark making and juxtaposition to an ancient wash painting technique.

Monday, November 30, 2009

Words for my denotative and spreads

Denotative Connotative

moon moon, waning gibbous, crescent, new


home blueprint, house, moving, vacant


water river, flood, scarce, drought

path street, boundary , crash, scrape

pyramid civilization, peak, decline, dow

Introduction Paragraph for Taxonomy

Taxonomy Book Title:

Taxonomy : Trajectory of Marks




Sumi- e derived from two Japanese characters no 濃 (dense) and tan æ·¡ (dilute). Together they mean “no-tan” meaning the different ink densities produced by water and ink. Sumi-e is black ink paintings on white paper. Simplicity is the most outstanding characteristic of this wash painting technique.

In a modern legend, it tells the story of an artist named Karen Villalba, whom was asked to make a catalog of marks. She created pages of marks and left out the tools that she utilized to create the marks with. When she was asked why, Karen explained that the tools were the physical and tangible elements of the physical world. If she had depicted the tools would come to life. The marks that are left on the page, simply reduced the appearance of the tools, and it keeps their souls. The souls of the tools are the more structured marks and yet their trace is just a capture of the unseen.

F+S: PJ3 : Cataloging

This book titled Marks of Excellence, The History and Taxonomy of Symbols by Per Mollerup. This contemporary book relates to this last project as it classifies or catalogs modern symbols into three categories by history, function,and motif. As we also had to catalog our marks into different categories, this book depicts symbols such as the Coca Cola logo their origin and development , style and their classification in our society. As well how something can later have a different connotative meaning.

Monday, November 23, 2009

taxonomy proposal II



This is my second proposal, I have decided to assemble to my taxonomy, in an accordion style book, size will be 6” x 9” in a horizontal layout, (technically 6”x11”--I will use the extra two inches in the horizontal plane for the binding). For my binding I will like to I will use the combination of a stronger white paper or perhaps a tinted paper with rice paper. As I mentioned in my previous proposal I will arrange my marks from structural to a less structural mark. I will scan these marks at high resolution and placed them in the page. There will be 2 marks per page, meaning that on the spread there will be 4 to make evident on the spread the structural to a less structural mark. I will like to pursue a different kind of binding, in which at the edges I will have bamboo sticks to make the pages look like they are smaller scale Japanese scrolls. I will use book binding mesh use for the spine of hardcover books as a binding attachment material.


Pages and Content


Title: Taxonomy: Marks and their Traces

Introduction Page - Describes the philosophy of Sumi-e .

Table of Contents- it will list shapes or my most structural marks of the shapes and the subheading will be the traces.

- 5 spreads


Denotative Words

circle

circular

square

rectangular

half-circle

half

part

stroke

line

triangle

triad

trio



Connotative

moon

crescent

new

waning gibbous

moon trail

house

plan

blueprint

dwelling

deteriorating

torn

vacant

bare

foundation (building)

infrastructure

river

flood

recharging

drought

alignment

road

street

crash

scrape

pyramid

civilization

egyptian



I feel that during the creation of these marks using the medium of ink and using water to toned done the intensity of our marks; is very similar to brush painting. The philosophy of Oriental sumi-e in which the goal" is not to recreate the appearance of the subject but it's soul. " I feel that with these marks the "soul" of the shape is the imprint left in the paper. My book will deal with the cognation of the simple shapes bring and in the context of their trace or path that the leave behind--or soul.

For instance:

Circle or cicular-- Moontrail : moon, crescent, waning gibbous, new

square---- Moving: blueprint, house, deteriorating, vacant

half-circle, part: Condensation: river, flood, recharging, drought

line: road : street, sidewalk, crash, scrape, dent

triangle: enlightenment: pyramid, ancient, point, stable, development, monumental, trace


Picture of model
Plan




Thursday, November 12, 2009

Vector vs Bitmap


Bitmap
-The most common graphic format use on the web, except Flash.
-Bitmaps graphics are composed of pixels, each contains specific color information.

Pros
-Is ideal for photographic images where there are thousands, even millions of different colors.
-It contains the exact information (pixels) required for display.

Cons
-Can make bitmap bigger, it must allow the original image to get filled with extra pixels.there is no source of information in needs to guesstimate, then it fills the space with guessed colors.
-Any Bitmap image that has been scaled up becomes blurry.
-The "blocks" are evident --pixelation occurs. The sharpness will only be in the "original" or smaller file.
-Blurriness is obtained when you manipulate, rotate, skewing or distorting a bitmap image.

Vector

-Composed not by pixels, but instead vector: points, lines and curves.

Pros
-Through vector one can create really complex designs.
-The image doesn't loose quality-- at differe
nt sizes.
-Ideal for producing artwork which needs to presented in ideal for logos.
Cons
-Images must retain relatively simple, has a different texture, feel and when produced in detail: very little.
-Once a vector image is converted to bitmap there is no way to return to the originals state,therefore copies need to be kept one with he original vector artwork and the other one the bitmap.

Final Shapes



Wednesday, November 11, 2009

Project 3: Reading Response : TIme and Motion

In the reading Graphic Design The New Basics by Ellen Lupton , motion is a change that takes place in time. Motion can be implied or literal, any still image has implied motion or implied stasis. In animation there are several diverse ways in changing an image, such as scale, transparency, color, layer. It is important to have a style frame which serves as a template of the visual elements and their changes and things such as colors, typeface and other illustrative elements.
Implied motion: diagonal compositions or cropped elude to movement on a 2-Dimensional plane and an object centered or parallel appears to be stable and not moving.
Line: another element used to create movement a sketchy line in comparison to a very straight line reflects movement and dimensional curve lines project movement and depth.
Sequential time and connecting time and space: showing several images (rows, panels) and linking them either with a common point of connection.
Using repetition and transparency further implies movement.
Persistence of vision: the way our brain retains images and gives the illusion of movement as images appear rapidly in a sequence.
Animation Basics:
Frame: the smallest unit or a single still image.
Key-frames: are the fixed states; they are the first and the last frames of each short sequence of action.
Tweens: they are the in-between frames and allows smooth transition.
Change over time in an animation is done through the use of : changing position of an object, scale, color, shape and transparency.
Animating Type
Animating type is animated just like any graphical element but there is factors that need to be considered legibility and reading order. Words don't have to literally move but other transitions can happen such as fading in and out, flicker, change scale and color. The changes need to be down slowly to allow legibility, but need to take account that it can people will not wait for a really slow text and depending on the context it could add meaning and set the mood of the animation.
For planning an animation (just like we are doing as another element in our third project) a storyboard: visually summarize the key moments of an animation event, suggest the major changes of action. It contains notes about camera angles, soundtrack, timing, transitions, special effects.
Interactive graphics or logos are done through the use of code such as Flash, ActionScript, Java or Processing, through the use of behaviors.

Tuesday, November 10, 2009

Taxonomy Proposal

As a part of our process in creating the content for our haiku, we created a pages of marks utilizing non-traditional tools. These 30 + pages of marks , I will arrange them for this catalog in connotative and denotative characteristics. I will assemble this marks in a book 6"x9" and bound in a Japanese stab binding format in a horizontal format. I will also arrange my marks in a form of a gradient from structural to a less structural mark. I will scan my marks at high resolution and placed them on a toned paper, perhaps similar to the one I used for my mark making process. There will be 2 marks per page in which it will allow when open for 4 marks to evident on the spread in which the connection between structural and less structural mark be viewed. I will like to title my book: Taxonomy: Configuration of Form. After the cover the table of Contents will list the arrangement and there after the pages of marks will begin for even amount of spreads.
I feel that during the creation of these marks using the medium of ink and using water to toned done the intensity of our marks; is very similar to brush painting. The philosophy of Oriental sumi-e in which the goal" is not to recreate the appearance of the subject but it's soul. " I feel that with these marks the "soul" of the shape is the imprint left in the paper.
For the covers I will use illustration board cover in book cloth :


Denotative:

circle
half-circle
flat
lines
square
fan
round
twig
handle
cloth
splashes
puddles
triangles
scribble

Connotative:

moon
air
incomplete
trapped
mountains
nature
delicate
ditch
arrows
skirt
stairs
chaos
confusion

Tuesday, November 3, 2009

Project 3: Reading Response : The Urge to Make Things

In the reading The Urge to Make Things by Leo Lionni, in relationship to the beginning of this project. In the reading he mentions the urge of human beings to create images, even if he is not using traditional mediums such as paint, sculpture or drawing he will create images which what ever he comes across with. In the same context in this project we are using untraditional objects to create our marks. Lionni mentions the importance of the creative process and allowing for the hands and more of the gestural components of creating marks, as well as we are doing in the mark making process of the haiku we are allowing the motion, pressure, exposure of the ink on the surface and the lightness we press; are all factors of the creative process. We instructed to select several objects to be used to create marks, and as I was creating marks using this inanimate objects for creating different types of marks. These objects had a function and "life" was given to them.

Friday, October 30, 2009

10 Objects for Haiku

1. Hand
2. Rock
3. Twig
4. leaves
5. Spoon shaped in the form of a moon
6. Charm of a moon
7. Fan ---charmed/ paper
8. Charm bi -disk
9. Thread holder
10. Charms of circles and squares

Revised List of Words for Haiku

1.Moon
2. Pull
3.Hold
4. Flat
5. Lifeless
6. Snap
7. Split
8. Twig
9. Grasp
10. Match
11. Question
12. Air
13. Fan
14. Delicate
15.Shock

Tuesday, October 27, 2009

Project 3: Haiku

This is my selection for this project:

TAKE THE ROUND FLAT MOON
SNAP THIS TWIG
FOR HANDLE...
WHAT A PRETTY FAN!

Sokan


My 30 Word list:

  1. Steal
  2. circle
  3. geometric
  4. remove
  5. pull
  6. rock
  7. rough
  8. satellite
  9. horizontal
  10. lifeless
  11. branch
  12. split
  13. pieces
  14. control
  15. stick
  16. grasp
  17. knob
  18. crack
  19. snap (button closes under pressure)
  20. hand
  21. paper
  22. air
  23. proportional
  24. fan
  25. blades
  26. balance
  27. girl
  28. delicate
  29. thin
  30. makeup

9 Words
  1. circle
  2. rock
  3. lifeless
  4. stick
  5. split
  6. knob
  7. air
  8. fan
  9. delicate