VISUAL TECHNIQUES

Balance, asymmetry, unity, economy, stasis, depth, consistency.

Balance, symmetry, exaggeration, consistency.

Both of these designs are visually balanced and consistent. The first one: the bookshelf with the shape of a tree has an asymmetrical structure that gives it a slightly organic appearance (still being highly geometrical due to the purpose of its functionality as a bookshelf). Its whole structure communicates unity due to the use of one tone of green and in the way the tree branches and trunk have been put together to make a whole piece instead of many separate pieces. The technique of Economy is seen in a way that the designer transmits the message of what this bookshelf represents (a tree) simply by using the shapes of branches and trunk instead of all the detailed visual information like roots, leaves, bird nests, flowers, fruits, etc. So the use of minimum units of visual means is achieving a well-structured composition that fully conveys the message of what it is. Stasis is represented in its suggestion of motionless as it is attached to the wall and the intrinsic static value of a tree. And depth is represented because this is not something flat just painted on the wall. It actually has compartments that serve as space for the books and we may observe the presence of perspective as it is a three-dimensional object.

On the other hand, this futuristic chair that to me, resembles a pair of sound speakers or something like that, perfectly communicates the use of the visual technique of exaggeration through the enlargement and amplification of forms and shapes that have been put together. At the same time, it is a symmetrical and balanced furniture design. And last, its consistency relies on its uniformity and the compatibility of ‘larger than usual’ shapes and forms.

Both designs are highly innovative and functional. They look attractive to the user, and while sharing a few common visual techniques, they have others very different and contrasting ones. In short, these two objects help as inspiration to me, to develop myself as an industrial designer.

WEEK 11: CONTRAST

The use of contrast of shapes contributes to a successful design in this case. The curvy, round and sinuous shapes of the top of this chair make contrast with the vertical legs and its rectilinear base. The regular and predictable shape of the base contrasts the irregularity of the top of the chair making this design attractive and interesting for the user. There is also a contrast of textures and materials. The clean white sleek plastic surface of the top of this design makes contrast with the hardness of the brown wooden and steeled base, which can be considered as a successful approach because it defines the visual meaning of this furniture design and it gives a balanced well contrasted result.

On the other hand, the design of this hair brush is somehow confusing and not functional at all. This is due to the surreal contrast achieved by the juxtaposition of a hair brush and fingers instead of the conventional predictable bristles. This contrast of fingers with a hair brush does communicate some kind of visual statement that the designer wants to transmit. I believe the overall design is a failure because this object turns out not to be functional despite of the visual message the designer wants to convey through this juxtaposition. It does create a dramatic effect, an unpredictable result, an unexpected set of things, but hair brushes are made for people to brush their hair, and no one could ever brush their hair appropriately with an object like this. This object does not meet the specifications of its functionality and serves only as a visual statement composed by this odd juxtaposition or as a decoration article.

Implied Motion/Movement Operating in Tangible Designs.

This image of furniture that has the naturalistic shape of a centipede gives the suggestion of motion by appearing to walk up the wall. The multiple legs and the way they look so natural and organic gives us static visual information that is indeed interpreted as implied movement. It’s great how a strong sense of dynamism is achieved in this piece of furniture design explicitly showing the designer’s intention of emphasizing the natural forms of a centipede and the motion illusion that can be created with a composition like this. Distortion of reality is present here in a way that the sofa transforms into an insect that not only looks like an insect but also seems to “act” like one, by walking up the wall in such realistic way.

This lamp has a visual mode that allows an implied sense of gentle motion by its twisting design. It is very much a static lamp, but its design gives us a sense of organic movement, some dynamism around its own axis. It’s like these swirls wrap up the lamp from bottom to top, almost like a serpent crawling up a tree trunk kind of simulation. The material in which the lamp has been manufactured really allows the designer to achieve this sense of subtle movement and reach the perfect flexibility for it to become dynamic enough to present this illusion.

This is an example of sculptures that are created in a way they look like they are in motion. By hanging all these strawberries from the ceiling at specific heights, the designer has achieved this falling cascade motion simulation very realistically. This dynamism is carefully achieved by the artist intention of showing movement within a static composition. This allows for the intense illusion of this bunch of strawberries that have been "dropped" from above and seem to be continuously falling upon whoever walks under the hanging sculpture.