Graphics Reference
In-Depth Information
on)—rather than those that are specific—particular ear shapes, markings, or short or
long hair. In arranging the elements, even for that of a recognizable object, the design-
er's goal is to invent a specific graphic language—an internal logic of positive and neg-
ative relationships, an emphasis on curved or angular forms, and an integration of line
and mass—that will make the mark live as its own, unified image, rather than simply
reproducing the likeness of the object. In one sense, the distilled, stylized mark is neut-
ral because it seeks to communicate on an objective, universal level; simultaneously,
however, it must have its own identity as a form. In giving the form its own identity,
the designer is selectively interpreting particular aspects of the message and skewing
the communication in one direction or another. Following the cat example above, the
designer might emphasize a crouching position, possibly communicating readiness for
action, or might emphasize the cat's claws, a message that might mean power or aggres-
sion. The angularity of the drawing, or how weight is distributed, might add interpret-
ation, such as restful and contemplative, or quick and agile, qualities. The universality
of a mark, along with its particular degree of invented stylization, will place the image
at different points along the continuum of representation and abstraction. Further, the
very selection of the image's subject might involve overlays of meaning that involve
conceptual, cultural, or emotional issues.
