The Anatomy Of A Visual Message

Representational

- identify what role it plays in the whole: Portable USB drive - Big brained Einstein

- describe what kind of impact it has: Easy accessible/usable device, which allows someone to transfer information from one device to another. This is moving away from the representational towards the symbolism and abstraction

- how it relates to the other two levels: By using abstraction, the visualizer was able to draw a simple sketch of the device, which has symbols like the iconic genius of Einstein known for E=mc2, which is a symbol in iteself. Also, it involves abstraction because of the large over-exaggerated brain.
Abstract

- identify what role it plays in the whole: By making the brain large, the visualizer was able to poke fun at the intelligence level of a famous person

- describe what kind of impact it has: By using this brain idea, the visualizer was able to make a suitable protective covering (cap) for the USB device.

- how it relates to the other two levels: Without the abstraction to symbolism in a representational form of the large brain, the visualizer wouldn't make the device too appealing, although the core juxtaposition of Einstein and a technological device is still pretty humorous.
Symbolic

- identify what role it plays in the whole: The potential object is representationally a symbol of itself by using Einstein + E=mc2

- describe what kind of impact it has: Humorous juxtaposition of smart Einstein with big brain and technological device

- how it relates to the other two levels: Representionally it is a USB device, symbolically it is Einstein, Abstractly he has a big brain.

Week 14: The Anatomy Of A Visual Message

Here is an example of a representational image. Clearly someone had the intent of making a realistic image, probably either copied in some way from either a picture or someone was there and took the time to sketch it out. It is a direct copy of something that someone saw. This is some of the most impressive representational pieces because it requires more detail that the other representational levels. There isn't very much guessing or questioning of what the picture is or what it represents. There is enough detail to know what it is, however the new questions are who, what, when, where, and how.

This is a picture of my friend in the military, who's workout is to carry a cross. This is very symbolic in many ways because religion itself creates enormous amounts symbolism. Especially in institutions such as the military or prison, religion is commonly found. The fact that he is carrying this huge cross gives a sense of discipline which will benefit him in the long run.

This is an abstract picture of something that is very questionable, yet very pleasing to the eye due to the effects. Small things can be picked out by the viewer such as a flower combined with the curvature of the overall piece. This picture's intent is to make you feel through question, rather than immediately knowing what it is. It is inspirational, and represented differently by each person who views it.

Week 12 Blog Exercise / Visual Techniques

 

Balance, symmetry, activeness, unity/fragmentation, economy, predictability, boldness, singularity, exaggeration, opacity, variation, flatness, accuracy, sharpness, sequentiality

Symmetry, irregularity, subtly, juxtaposition, understatement, stasis, transparency, consistency, flatness, distortion, sharpness, sequentiality, repetition, fragmentation

The headphones depicted are similar in a sense that they have the same basic function, however they are both very different designs. The wrap around headphones are circular-bold and give the user a feeling of whole while using it. The other headphones are more fragmented and concealed for active use. The wrap around headphones are more on an exaggerated level than an understated design, like the bud headphones. Both serve different purposes, the wrap around are for recreational and more concerned with the quality of sound. The other pair are made for deaf people and more focused on the vibrations that come from the device itself. Based on the functions, regularity and irregularity seems to fit despite the basic design style. The wrap around pair are able to fold, which is unique because usually headphones of this design are bulky and hard to conceal. The other headphones are small enough to just put in one's pocket, so they are leaning on the transparency side. While the other pair is closer to the opaque side. Both good designs and good product ideas.

Week 11 CONTRAST

 This is a good example of contrast in industrial design. The composition is balanced and centered. The colors available are vibrant and creates the pop-out effect well. The shape of the product consists of circles, creating a feeling of completeness, creating a whole. The juxtaposition of an airplane, yet a boom box goes well together and allows all aspects of the boom box's features to be placed neatly and functionally.

The contrast for these snowboards seems lazy to me. When designing the snowboard, the contrast of the board on the snow is number one to be considered. Although black will contrast on white well, there are so many other colors and designs that can be incorporated onto a snowboard. Also, the white design is alright, however the pink is such a light color, the contrast woulnt be as noticeable as compared to a neon green or even a brighter pink. The snowboards shape must be about that, sometimes slightly different. The composition is pretty bland.

Option 2: Navigation Through Designed Space

There are many problems that must be solved in 3d game design. The overall problem is simulating another world and incorporating all the motion perception cues possible. The main cue being the optical flow of the virtual world. If you are playing as another character the world must be able to smoothly go around the character. The ultimate goal is for the user to feel "inside of the game" and to escape the norm as much as possible. The movement of other simulated characters must be apparent while the user is able to move through the world. For example, in this picture the simulated soldier must look like it is moving through the environment also. So the game designers problem could probably be solved by making the user able to run faster than the simulated character so that it blends with the optical flow, yet at the same time event perception can be incorporated with the character to create a narrative story. In order to keep the user's attention they must be able to relate to it. This picture is a great example to event perception - it is emotional, there is biological movement (reloading the gun, other characters moving, dying, etc) The white house keeps the user's attention because it is a battlefield - unsafe emotion. The relative movement needs to be smooth so that the part of the character you see (hands, gun) moves with the camera. How do you get illusions of direction? By putting tone in the right place such as the sun so that the far away tree is in the shadow of the building makes the illusion of direction.

Even simple 2d side-scrolling games like Limbo require dealing with a great deal of physical issues. The optical flow is easy to create because it is only a sillouette with a light background. However, with such a simple design, the physical environment really needs to captivate the user. The apparent and physical movement is crucial. For example, the spider in the game needs to move like a spider does to simulate that feeling you get when you watch a spider move. The boy needs to run like a boy. The emotion of the game relies on the biological movement of the character and the protagonists. The physics, such as when the boy jumps and lands makes gravity look very similar to ours. This creates the illusion of direction and enhances the overall optical flow of the game

Perception Cues

I chose the popular mass multiplayer online game world of Warcraft as an example of where perception cues are present. All of the perception cues must be present for the user to experience the virtual reality present in the game. Overlap is used to distinguish what is behind something else. There needs to be linear perspective, relative height, relative size, flow pattern, and texture gradient at all times as the character is controlled in order to make the virtual world come to life. For example, if there were no texture gradient, the virtual world would just be a hollow shell. If there wasn't any relative height, the world would seem impossible. With no optical flow, the virtual world would be unable to move with the character, the game would be adventure-less.

http://www.wired.com/gaming/virtualworlds/commentary/games/2008/07/gamesfrontiers_0728

Tone And Color

http://www.youtube.com/watch?v=hxd7W7q-THw

I chose the Pixar short JackJack Attack to demonstrate tone in motion graphic design. In the beginning stages of motion graphic the design, the idea must first be sketched. By using line sketch and tone, the image begins to come to life. Tone is used in this link to demonstrate where there is light. When there is light, there is color. For example, right when the baby ignites itself the tone drastically changes to really make that scene really intense.
Color and its reaction to tone is extremely important in creating motion graphic design, especially when it is directed towards a young audience. Hue, saturation, brightness, and value must be used intelligently to capture the audience. Light/color/tone is also important for 3d animation in creating depth and making something look whole.
Colors need to be pretty simple in creating something such as a childrens movie because basic colors are important to recognize.

Motion graphic design

I chose this picture as an example of how the basic element line is active in the process of motion graphic design. By utilizing point and line, designers are able to create 3 dimensional models before adding texture. With just points and lines depth, movement and tone can be seen before adding any color. Point and line is no longer active once texture is applied.

I chose this picture to demonstrate movement active in motion graphic design. The character jumping over the turtle portrays some sort of physics in this design. A physics engine that makes sense to people is very important otherwise the design will seem ambiguous to most people. Point and line can still be active during movement.

I chose this last picture as an example of tone. I think pixar is by far one of the best in the motion graphics department. Point and line is no longer active, yet tone And texture overlays the model, making the design realistic to the viewer. By using point and line, 3d was possible. By adding color, texture and tone, light is possible.

Success and failure

I chose an example of character design for a video game. Here the syntactical guidelines are put to use by using balance for the character. There is a horizontal and vertical axis (felt axis) because he has the human form. There isn't a lot of stress, except a little in the upper right hand corner where sinuous curves are seen. There is a good use of leveling with the title of the character and the name of the game in the bottom left. This is a showcase of a character design.

There is lot of stress on the right side, so that it is hard to tell exactly what this is at first. It took quite a long time to realize its two robots in an embrace, It was hard to distinguish if there is a felt axis.

Visual Vs Symbolic Language

Everyone is affected, nervous, clenched, desire for work, need, hope, professional, emotional, the focus on the "free employment guide" next to a purse, the clenched hand on the wrist, unhappy attentional faces, blue collar man - a symbol.

Assuming the person can recognize some color:

There is a line of three people. In the front is a woman (unseen face) in a black suit and white undershirt, focused most is the clenching around her wrist tightly close to her body, which is holding a free employment guide (Visual representational material). A purse is around her arm being clenched (symbol). Behind her is an African American woman also wearing a black suit with a white undershirt holding a black folder with two hands close to her chest as if she is hoping/praying for what she's looking at. Her face is serious and attentional, fixating on something. Behind her is a man, who is told a stack of papers in his left arm. He has a blue, long sleeve, collar shirt (Abstract representational material). Black short hair. He is facing the same direction as the woman in front of him. Behind him, a sillouette of person is there representing that the line is continuing.

Visual Thinking Operations

For this puzzle I used finding to locate all the triangles that make up the cat. I numbered each one so that i did not recount any.

My roommate also used finding for this puzzle. Numbering each triangle was effective in not recounting. However, my roommate counted each triangle differently.

For this puzzle, we had to distinguish which group did not belong to the main group in the middle. By using orthographic information, we both used different strategies to try to solve. I used pattern completion, however i think I also used filling in because I drew line to finish the boxes that were hidden to help myself mentally rotate the objects.

 My roommate used pattern completion to try to solve, yet he had a hard time with A and C. He thought by using process of elimination he could find the right one. He tried mentally rotating the images based on shading. I think he used mainly visual reasoning for this puzzle.

 

 

 

 

 

WK3_Cazden

http://www.tommasosanguigni.it/gallery.php

Beginning with the cornea and the lens which focuses the images on the retina, our active vision begins with bottom up processing (features, patterns, and objects). After many saccades, scan paths, and fixations on the image we gain more vivid color, shape, motion, and spacial layout (feature channels). The more effective feature channels are listed by a hierarchy of effectiveness. These channels are all pre-attentive (we dont pay attention to this because of we are looking ahead [just in time]) Our visual working memory tells us this is a chameleon. Yet, this is no normal chameleon! The designer made the wires red. This was a good use of the "pop out effect" enabling the user to see that and realize easily that this is a robotic creation. The shape is a chameleon, yet there are features that most would relate to technology, robotic (man made). Color, shape, and spacial layout are the most widely used visual feature channels in this image. The white is very effective with the black background. the light shining off the metal is good at demonstrating depth, and the shape is important because it is a common pose a chameleon would have.

Top-Down Example

This image has four different planes layered on top of each other and rendered different colors so that one may correlate each plane with the below measurements of the plane. For top down processing, one with first will begin with short fixations (gaining attention) to get an overview and to map out the image. Next, there will be longer fixations, such as correlating the colors with each individual plane. Then after these fixations, one will look ahead with a priming of actions as much as  they can and remember what they saw, for example, that the yellow plane has the largest wing span. Next is the "just in time" strategy, so that if someone asks or they need to know in a fly they can answer quickly based on color, size, and/or shape.

http://ffffound.com/image/16a8961e762d6bcd8c3baebe4c9a8b0adc551e70