VISUAL TECHNIQUES

Visual Techniques

Figure 1. The Vitra Vegetal Chair by Ronan & Erwan Bouroullec.

Asymmetry

Symmetry

Balance

Harmony

Unity

Activeness

Boldness

Variation

Repetition 

Figure 2. The Vitra Panton Chair designed by Verner Panton. 

Balance

Instability

Irregularity

Intricacy

Exaggeration

Spontaneity

Boldness

Subtlety

Depth

Sharpness

Compare & Contrast

While both the Vegetal Chair and the Panton Chair challenge the norm of what a seating unit should look like, their chosen visual techniques create a distinct reaction to viewers. The Vegetal Chair makes symmetry and asymmetry challenge each other; while the chair is symmetrical in the sense that all four legs are angled in the same manner, tha tree-branch like design creates enough asymmetry to establish some contrast. This contrast therefore acts as a harmonious element of unity that additionally establishes  a bold and active feel to the chair's back. The lines of the "branches" give the chair a feeling of being actively in motion due to their spontaneous repetitive nature.

One the other hand, the Panton Chair, while bold like the Vegetal Chair the Panton Chair is more subtle. While the sense of the instability created by the curvilinear structure it has gives it a bit of an ecaggerated and spontaneous edge, the simplicity and sharpness of the overall structure in addition to the depth of the curves make it simpler. 

CONTRAST

EFFECTIVE USE OF CONTRAST

Figure 1. Valentin Löllmann utlizies the contrast of colors in materials in this beautiful night stand. 

German design Valentin Löllmann has proven to be a master of contrast with his new line of furniture. From this line comes a cabinet (Figure 1) which displays contrast being used at different levels in design including contrast in color, tone, material, texture and shape. 

Figure 2. A detailed close-up photograph of one of the pieces by Löllmann. 

As seen in figure 2, Löllmann highlights the natural tone of the wood from the drawers against the rough white exterior of the rest of the cabinet. The warm color of the wood is highlighted and in a way displayed against the stark quality of the white paint. In addition, the textural quality of the wood versus the plaster-like texture of the rest of the piece of furniture further enhances the differences between the elements of the piece. 

Finally, Löllmann's creation exemplifies contrast through its shape. The geometric quality of the drawer area of the cabinet compliments the organic, ornately designed legs of the piece. By having the legs in a different style, the designer is able to make the object appear more welcoming and less intimidating as opposed to if it was all done in a very geometrical stylization. 

NO USE OF CONTRAST

Figure 3. The MASH Studios LAX Bookcase is appealing, yet quite ordinary due to the lack of contrast. 

On the other hand, when observing the LAX Bookcase (Figure 3) from MASH Studios, one can note that despite the beauty created by the choice of materials and the decision of generating a product in a very minimalistic and geometric manner, the products lack of contrast makes it quite uninteresting and allows it to blend into the background of the walls.

Although such a style might be appealing for some, it is lacking in contrast. The bookcase maintains the same square shape for every one of its compartments. Additionally, it does not integrate color or a different material to highlight a certain area of it. As a result, the product is limited to its practically and fails to opearte as a visually intriguing piece of furniture.

OPTION 1: Movement/ Motion

Industrial Woodworking Corporation's line of furnishing known as Knú focuses on creating contemporary and sustainable home and office furniture. However, what grabs the viewers attention the most is the chosen styling of the furniture. 

 Figure 1. Knú Dining Table #1 appears to be in motion. 

Take for instance the Knú Dining Table #1 (Figure 1), while a normal table's legs sit parallel to the table top, Knú's design is created so that all four legs sit at an angle and all of them point towards the center. This is addition to the slight curve found in the legs of the chairs, create the illusion that the chair is about to jump of the ground. 

This illusion is created due to the familiar position one takes whenever getting ready to jump-- slight bend of the knees that creates a curved-like, angled stance. By having in mind that most viewer's carry this association in their heads, the designer was able to reinforce the implied movement in his pieces of furniture.

Figure 2. Knú Bookcase plays with implied movement through a different approach.

On the other hand, the Knú Bookcase (Figure 2) deals with implied movement but in a slightly different way. Even though the positioning of the "legs" in the bookcase create a similar illusion as those of the table and chairs in Figure 1, in this instance the overall length of the legs in the bookcase plays up the effect as well. Since legs to begin with aren't normally seen in bookcases (let alone seen in such a length) this piece of furniture gives off the notion that it is about to run away. This notion is brought on by the comparison of it's legs to actual human legs. The curvilinear design of them gives them the appearance of being a sort of cartoon character getting ready to escape some sort of chaos.

Images provided by:
http://www.treehugger.com/interior-design/knao-inanimate-motion-in-crisp-sustainable-form.html

DIMENSION, DEPTH, SPACE, AND SCALE

Kids Furniture by Hiromatsu 

In the realm of product design, designers often play with scale and space when seeking to re-invent a well known figure or item. One of these popular items that gets re-invented is kids furniture. 

This is done for practical reasons, as most furniture often proves to be too big for kids. However, when designers such as Hiromatsu apply this principle of scaling down items such as desks and chairs and maintaining a "normal" furniture-like look (in other words, furniture that isn't necessarily made out of bright colored plastic) the illusion is created. 

Figure 1. Hiromatsu kid's table 

As seen in figure 1, due to ones notion of what is the familiar size of a normal sized dinning room table, one might now immediatetly be aware of the actual scale of the product because the space that the product is within does not give the viewer any clues as to its size.  The fact that we often encounter such object as dinning room tables on a daily basis, further establishes our creation of this common scale.

Figure 2. The figures demonstrate the true scale of this piece of furniture. 

However, when seen through figure 2, the scale becomes evident when the two figures are present within a resonable distance from the product (in this case, they are both clearly sitting on it). This could argueably be an example of relative size and familiar size, in terms of the size of the adult and child. 

TONE AND COLOR

Figure 1. Nintendo 64 with game controller and console. 

How Tone is Operating

As seen in Figure 1, the Nintendo 64 utilizes tone in a very subtle but effective manner. For instance, in the design of the console, the areas where the remote controllers are to be plugged in and the area into which the actual game itself goes have been designed in a lighter tone of gray to contrast the darker tone of the overall console. This small but significant distinction allows for the user to immediately identify these key areas and begin playing much faster. 

How Tone is Interacting 

In the console, tone interacts in a very interesting way with the scale of the distinctive areas with a different tonality. In the console for instance, tone acts as an attention grabber for those areas that are found in a smaller scale (in comparison to the overall size of the console) that require the users attention. By using tone to distinguish these areas, the design of the console remains balanced. 

Figure 2. A close up of the Nintendo 64 game controller. 

How Color is Operating

The use of color, in both the console and the controller, are very minimal and only applied to areas when necessary in this original version of the Nintendo 64. As seen in Figure 2, color operates as an indicator of the function of each button. Although the colors are not conventional to the average person, the color choices are based off what is common in the gaming console world. For instance, the use of red as "start".  

How Color is Interacting 

Color interacts the strongest with the use of shapes in the case of the controller. Even though the shapes (circles for the most part) distinguish the areas in which the controller has the buttons needed to be visible by the user, the colors chosen distinguish the function of these buttons to the user. By utilizing vibrant colors in these buttons, the user is able to quickly glance at the controller and distinguish which button it is he/she needs. 

THE BASIC ELEMENTS: Tea Kettles

Color 

Figure 1. The Alessi Signature Kettle with Bird Whistle by Michael Graves, 1985

This innovative design by Michael Graves redefined how individuals interacted with tea kettles. Graves managed to transcend tea kettles not only into a new form, but was amongst the first to integrate color. In the Alessi Signature Kettle Bird Whistle, Graves added two small hints of color in contrast to the stainless steel body-- a blue handle and a red spout.  Graves not only integrates these color elements for aesthetic purposes, but uses them as a way to visually communicate the areas in which the tea kettle is hot (red) and cold (blue).  By choosing unsaturated colors, Grave manages to still push his message across to the user while keeping the design elegant and timeless. 

Movement 

Figure 2. The Oggi Zephyr tea kettle gives of a sense of efficiency through its implied movement. 

As one of the most dominant visual forces in the human experience, the designers of the Oggi Zephyr kettle took advantage of that dominance. This particular tea kettle is crafted with an organic shape that appears to follow a diagonal directional line, giving the product that illusion of movement. It is through the use of these so-called angles-- as seen in the directionality of the spout and the handle doing in opposite directions for one another-- that the designers at Oggi managed to make this basic element quite visible in this product. 

Shape 

Figure 3. Il Conico Tea Kettle, Designed by Aldo Rossi for Alessi 

While most conventional tea kettles maintain a more organic and circular shape, this design by Aldo Rossi features to product in a very geometrical shape-- a triangle. Not only is the visual effect of this powerful because it is attributed as being different, but it is additionally successful due to the clever repetition of the triangular shape throughout the product. The shape is not only that of the overall body of the kettle but it is also found in the spout and the handle. Rossi's choice of a triangular shape additionally fits with this given product because according to Dondis, "the triangle [signifies] action, conflict, and tension".  This visual symbolism also applies to the function of the product-- the pressure of the water builds in this enclosed area to get it to boil-- making the association stronger. 

Works Cited
Bird Whistle by Michael Graves. N.d. Photograph. Alessi. Web. 8 Nov. 2012. <http://www.alessi.com/>.
Il Conico. N.d. Photograph. Alessi. Web. 8 Nov. 2012. <http://www.alessi.com/>.
Oggi Zephyr. N.d. Photograph. Oggi Products. Web. 8 Nov. 2012. <http://www.oggicorporation.com/>.

VISUAL THINKING RESEARCH

For this exercise, I asked my roommate, Lizeth, to complete the puzzles with me. For this exercise we completed the Theobalads Maze and the Cube Ring.

Tehobalads Maze

Lizeth's Work

 

For this exercise, I noted that Liz began to look for a pattern before actually marking anything on her page. She began by following the maze simply with her eyes and then looking at the different entrances and comparing how they were different or similar from one another. From this, Liz concluded that in the maze, all of the entrances lead to the center.
 

My Work 

 

My approach was very distinct, I immediately began trying one entrance and moved on to another without finishing it and instead of trying to see what the different entrances had to offer, I focused on finding the center. I then came to the conclusion that the way in which you entered was appealing to me, because it was sort of done in a concentric manner-- so that you had to navigate through all of the corrdors--  that made the task very relaxing.

Cube Ring

Lizeth's Work

In this puzzle, Lizeth began by counting the number of cubes in each figure, after numbering them off and realizing that the puzzle made it appear that all had 10 cubes, she then proceeded to rely on the rotation of the object to guess that while it appears to be that image C has 10 cubes, there is a possibility that if viewed from a different angle, the image would display an additional cube.
 

My Work 

For this puzzle, I took a similar approach. I too began by numbering off the cubes and then proceeded to analyzing how each figure was the same image at a different viewpoint. After comparing the different figures-- aided by memory and categorizing-- I concluded that due to the fact that there was no cube in any of the other images at that point in the figure, it would appear to be as if though the extra shaded region was an 11th cube. 

VISUAL PERCEPTION 2: Feature Hierarchy

Fig 1.  The Breville BOV650XL Compact Smart Oven

 

The Breville BOV650XL Compact Smart Oven (Figure 1) is an innovative and convenient invention that manages to accomplish all the essential functions that a standard oven completes while saving much needed space and energy.

 In addition to the excellent functional qualities that this product presents, the visual features make it easy to operate for any user. This is due in particular to the effective use of feature hierarchies. Here are the number of different ways in which this product achieves these different feature channels:

• Color:Although most of the product remains sleek and uniform with the stainless steel exterior, the designers integrate the use of color through lights. As one can observe, the power button is highlighted by a red light, which alerts the user that the product is ready to be operated. 
 

• Shape:While the product remains rather minimalistic and geometric in shape, the designers were able to use circular elements to identify the distinct features that this product possess.As it can be noted, the knobs are presented in this shape and additionally visual references (such as those circles on the oven's glass door) are indicators of functional attributes.

• Size: The size of the different panels and knobs make it fast for the viewer to identify where the operation tools are indicated on the product.

• Orientation:By maintaining a constant vertical orientation in all of the features of the Breville BOV650XL Compact Smart Oven, the user or this product is able to identify where all the different functional elements are located on the product. This as a result makes it easier and faster to operate. 

• Motion: In addition to the implied motion of the the knobs, the product also possess a panel on the top right hand corner that demonstrates the different setting to each of the features as the knob is moved from one element to the other. 

• Depth cues: By having the function knobs portray depth, the user is able to identify their location much faster and can immediately understand that there is motion involved in that given feature.

• Spacial Grouping: The grouping of the different features of the product around each knob make it easier for the user to understand how each different attribute of the smart oven is activated. 

Works Cited
Breville USA. The Breville BOV650XL Compact Smart Oven. Digital image. Breville. N.p., n.d. Web. 17Oct. 2012. <www.brevilleusa.com>.

 

VISUAL PERCEPTION: Top-Down Visual Processing

Fig. 1 The Breville Barista Express Espresso machine 

The Barista Express espresso machine (Fig. 1) demonstrates the process by which an action goal is dealt with. While the directed eye movement of the product might be based on the user's experience with an espresso machine, the pattern might be somewhat similar with users who prepare espresso on a daily basis.

The process begins with a few fixations on some of the features of the machine to get a clear overview of what the product is exactly. Once the viewer has identified the object as "espresso machine" after following a pattern of scan paths, he or she might register some "look-ahead" features to have a sense of order when proceeding to making the espresso.

In my personal experience with such a machine, the "just in time" queries go as follows:

Grinder 

Brew group (group head, portafilter, and filter basket) 

Doser

Brew group 

Control panel 

Drip tray 

However, despite the level of expertise of the user, there might be some "look-ahead" queries. An example is noted in this list in bold italics: 

Grinder 

Doser

Brew group (group head, portafilter, and filter basket)

Control panel 

Doser

Grinder

Brew group 

Drip tray

Control panel 

Drip tray 

As demonstrated in the previous two lists, the espresso drinker would follow a top-down visual processing pattern when trying to create their caffeinated drink. Since the product has a number of different components, the user is required to shift their focus from one element to another in order to successfully produce a cup of espresso. By "looking ahead" the user is able to foresee what he or she has to do next. 

Works Cited
Breville USA. The Barista Express. Digital image. Breville. N.p., n.d. Web. 10 Oct. 2012. <www.brevilleusa.com>.

SYNTACTICAL GUIDELINES: Design Success and Failure

Design Success

 Figure 1. The classic but timeless design of La Cornue CornuFé stove. 

The La Cornue CornuFé (Fig. 1) stove demonstrates how simple and timeless design can be effective and appealing. This kitchen appliance demonstrates a perfect symmetry that establishes a sense of balance. Although the composition is somewhat static, it clearly demonstrates the functionality of the object by having each of the elements particularly marked. The composition of the face of the CornuFé successfully demonstrates a clear perception of its intended use.  

Instead of creating contrast through decorative elements, the designer manages to stress the function of certain parts-- such as the knobs-- to identify their purpose. By implementing the same stylistically look and feel to similar features, the designer is able to group together corresponding elements. For instance, while the knobs on the oven doors look the same, they are bigger in size and different in style when compared to the knobs that correspond to the stove top. 

Design Failure 

Figure 2. Side table, designed by Simon Moorhousein. 

The side table, designed by Simon Moorhousein, demonstrates a somewhat unsuccessful approach to the Syntactical guidelines. Although the object is able to perceive its function, the balance it presents is quite ambiguous. By having all the weight rest upon the left side of the box-like structure, the design appears weak and unreliable.

By having the user question it's reliablitiy, the product is unable to fully convey wether or not it can achieve its percieved function-- to hold books, table lamps, and other objects.

Despite its failure to comply with some of the syntactical guidelines, the product by Moorhousein still remains interesting to look at and experience because of its uniqueness brought on by its asymmetrical structure and unconventional diagonals.

Visual VS Symbolic Language

"Economy" 

The image pictured above depicts a white piggy bank in the foreground tilted on its side with a few coins (about two pennies, two dimes, and two nickles) that appear to be falling out of it. The piggy bank is seen resting on an abstracted American flag, with some of the stars in the foreground and approximately only six stripes are visible in the background. Additionally, since the image of the piggy bank accounts for most of the composition of the photograph, it could be said that it is meant to be the focal point. One could additionally infer-- due to the details visible from the flag-- that the picture is a close-up shot. 

Responses/ Feelings to Image

• Satirical/ humorous 
• Amused (due to wit)
• In agreement with, despite slight exaggeration. 
• Understanding
• Slightly distressed
• Knowledgeable (insight to Politics and Economic state)
• Interested 

Symbols

• United States (symbolized through flag) 
• Economic crisis
• Currency (US coins)
• Piggy bank (notion of saving)
• Childhood (piggy bank) 
• Star (Symbolism of states in flag)
• Stripes (Symbolism for first colonies) 

The image's meaning is not only brought on by the symbolism created, but also by the composition of the photograph. Since the focal point of the image is the piggy bank, the photograph is introduced to the viewer through a feeling of amusement. This is due to  the relationship such an icon often has with childhood, making it witty yet intriguing to the spectator. However, when analyzing the foreground, one can come to the understanding that the symbol of the tilted piggy bank is a symbol for the Economic crisis in the United States, which in turn can cause some feelings of distress and or an interest  to obtain the deeper meaning of the context. 

MEANING 2: Interactions Between the 3 Levels of Meaning

Figure 1. The Porcelain Espresso Machine innovated by Arvin Haüsser highlights common materials by presenting them in a new context. 

As a student of Bauhaus University, Arvin Haüsser has innovatived the representation of espresso machines with his interpretation of the product, which is primarily constructed using porcelain and wood. By bringing in materials that are commonly associated with coffee bars, Haüsser is disclosing familiarity to his product in order to highlight its function and have the luxury of developing a more abstract shape (Frey).  

Figure 2. Although the overall body of the espresso machine is more organic and abstract, the product still displays features-- such as the spouts and the portafilter-- that are more representational. 

As noted in Figure 2, despite the unfamiliar shape of the espresso machine, a number of different elements found in this product are standard to any espresso machine. As a result, these components suggest the overall function of the product to the viewer-- such features include the spouts, portafilter, and the cup tray. Through the hints provided by these components, the viewer and potential user is therefore able to look at the product and immediately think "espresso".

A major factor atributed to Haüsser's innovation is his decision to craft his product in an abstract manner. Many of the components usually found in espresso machines are by their very nature functionally abstract. However, due to the long period of time for which societies have been exposed to espresso machines, their common geometrical shape has shifted from being an abstraction to a representation. It is then that by changing the formerly abstract product into a new organic and curvilinear modeled design, Haüsser is able to transform a previously mundane household object. 

Finally, despite the fact that the Porcelain Espresso Machine is a functional object, it still holds a level of symbolism. I perceive the use of materials to be a symbol of the advancement from the common use of plastics and metals and advancement into more sustainable and recyclable materials.

Additionally, the espresso machine as an item is a direct symbol for the communal activity of drinking coffee. Many cultures partake in the practice of drinking coffee and espresso drinks in the terms of social gatherings or during the morning coffee rush. By redefining the look and structure of the household espresso machine and incorporating the materials and stylization that are usually found in coffee bars, the notion of drinking coffee as a social activity is reestablished in the home environment.  Therefore, for many coffee will no longer just be a necessity in the morning, but something to look forward to as well.

Works Cited

Frey, Aaron. "Porcelain Espresso Machine by Avid Haüsser." Frsh/ Grnd: Coffee & Culture. N.p., 29 Feb. 2012. Web. 18 Sept. 2012. <http://frshgrnd.com/2012/02/porcelain-espresso-machine-by-arvid-hausser/>.

EXERCISE 1: Meaning

Representational

The Hand Pen Holder released by the Urban Outfitters online store is an adequate depiction of the merger of functionality and representation. 

The designer of this product clearly portrays a closed fist much like in the nature that one typically holds on to object such as pens, markers, and pencils. 

By representing this gesture as a pen holder, the product embodies the notion of being quirky and witty triggering a positive reaction in the viewer of the product. The subconcious connection the viewer immediatetly makes of how one goes from physical holding pens to assigning such a task to a designated cup.

Abstract

Biomimicry is an upcoming concept of looking to nature for guidance when designing new products and using our natural surroundings as a mentor for functionality and design (Biomimicry Institute). 

This relm of design results in the production of such products as the one pictured here by Pax Technologies. The company drew inspiration from the natural shape of the calla lily when developing a water mixer, due to the flowers natural shape which allows for the quick flow of water (Heimbuch). 

The final product as a result communicates the organic shape of the flower all while being able to maintain the objects functionability clear. The final product as a result communicates the organic shape of the flower all while being able to maintain the objects functionability clear. 

Symbolism

Richard Notkin has long been acclaimed for making functional ceramic objects and attaching a deeper meaning to them in addition to their given nature and functionality.

In his series of teapots all titled Heart Teapot Notkin aims at dealing with the cultural and national conflicts that surround what he refers to as "human culture". Notkin chooses to replicate images of human hearts in this series because he believes that every problem found without our society originates from the heart. In each different piece, the artist represents different instances in which different nations have generated a "dark side" of the heart ("Richard Notkin").

In the instance of this particular product, Notkin is able to denote the hardships of the heart by presenting it tightly wrapped by a metal chain and covering it in nails and bolts, to exemplify something tough enough to be made of steel. 

Works Cited

"Biomimicry Institute." Biomimicry Institute. N.p., 2012. Web. 13 Sept. 2012. 
Heimbuch, Jaymi. "Nature-Inspired Innovation: 9 Examples of Biomimicry in Action." TreeHugger. N.p., 09 Jan. 2009. Web. 13 Sept. 2012. 
"Richard Notkin." Ceramics Today. N.p., n.d. Web. 13 Sept. 2012. <http://www.ceramicstoday.com/potw/notkin.htm>.