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