Graphics Reference
In-Depth Information
ing, cultural, gender, and environmental concerns.
We can attain it when we supply visuals along with
verbal information, and use meaningful icons, as
well as text. For example, design of a Maxwell
House coffee large size container may attract cus-
tomers and store managers at the same time with
its slogan, “Good to the last drop,” characteristic
of this company dark-blue color, smart design of
its unbreakable plastic box with a handle fitted into
its cube shape, so the box can be easily picked up
with one hand and at the same time more coffee
containers would fit into a big cardboard box. The
container would contain less coffee because of the
design of the handle, yet it looks big.
Design skills became even more important in
relation to the web culture. Fine art, functional
(utilitarian) pictures, posters, commercials, and
all kinds of web productions are evaluated in
terms of the elements and principles of design, as
all various forms of art use the same principles.
Unlike speech, visual displays of information
are controllable by the viewer, and encourage
the viewer to use different styles of understand-
ing and interpreting information. In accordance
with Edward Tufte (1983; 1992), the good design
means that information is effectively arranged
and empty space is used properly due to contrast,
comparison, and choice, to allow reasoning about
information. In the words of Tufte,
We have capacities to select, edit, single out, struc-
ture, highlight, group, pair, merge, harmonize,
synthesize, focus, organize, condense, reduce,
boil down, choose, categorize, catalog, classify,
list, abstract, scan, look into, idealize, isolate,
discriminate, distinguish, screen, pigeonhole, pick
over, sort, integrate, blend, inspect, filter, lump,
skip, smooth, chunk, average, approximate, cluster,
aggregate, outline, summarize, itemize, review,
dip into, flip through, browse, glance into, leaf
through, skim, refine, enumerate, glean, synopsize,
winnow the wheat from the chaff, and separate
the sheep from the goats.
See Table 4 for Visual Response.
Table 4.
Visual Response: Tapestry
Create a geometrical design for a tapestry. It could be done with the use of pattern (repetition of units), but the overall design should carry
compositional elements. When buying a fabric in a store we ask for a specific length. If the fabric gets cut few inches shorter, it would not
influence its composition. After creating an artwork on the computer screen and then leaving for a lunch, an artist would probably notice
if someone would cut a fragment of the composition. It would change the artwork's balance and proportion. When creating art, we care
for the placement of the elements in a way that would fit into the format of our composition. We can resize our frame by changing its im-
age size, but we adjust the composition of the artwork afterwards.
After finishing your abstract design, use your fabric for dressing a horse, for example making a carpet-like blanket. There are many occa-
sions it can be done for, and it could mean covering the back of the horse, maybe also its head, legs, tail, etc. There are many descriptions
of a long tradition of dressing horses, for example by Annisa Garrigues (2008).
