ITAP LECTURE 5

Visual Hierarchy

Visual Hierarchy is the order in which the Human eye perceives what it sees. What we see first and in what way our eyes are moved around the page, led by the last piece of information and almost dragged to the next Created by the visual contrast between forms in a field of perception. Objects with the highest contrast to their surroundings are recognised first by the human mind.  A piece of graphics designed so certain aspects are noticed first. Each item has an order. It can be very subtle and blended into a piece, but sometimes it can also be incredibly obvious, with the use of grids or even instructional shapes such as arrows or a drawn path to follow.  The visual hierarchy of a piece takes into account everything. The image or visual may be photography, illustration or graphic. The typography and the heading, subheading, body copy, and anything else it may incorporate. Things are made to stand out so you go there first using anything from sizing to colour to italics on typography. The visual hierarchy of a good piece of communication is usually always very well planned and thought out.

Your eye look at precisely where they should be 

The order your eyes will read this text

In this 1999 Wonderbra advert, The Model “Can’t cook”, but who cares? Because her Breasts appear larger, thanks to her Wonderbra. This advert congratulates women for increasing their breast size. It also posits that a woman’s breast size is of principal importance more than she fulfills as her domestic role.  The eye is drawn straight to her Breasts and secondly the point of her domestic qualities.

Tone of Voice

Essential to visual communicating a written text is ‘tone of voice’. This can be denoted through choice of font “LOUD or quiet”. The style of the typography, the size and colour of the font, all contribute to the tone. When you select a font you can shout, cry and whisper. Whether you are expressing sarcasm, anger or happiness, what ever your state of mind and your message, typography on its own retains elements of the spoken words. There is an expanding universe of fonts available for which designers need to possess a level of skill and understanding that will let them use the fonts effectively and powerfully. Knowing whom you are communicating to and what message is to be portrayed will help in the choice of font.

This advert reads the text first as it should be

Bibliography:

caglardemiral.com

http://brandbook.nokia.com/blog/view/item64932/

http://www.theconversation.tv/truth-wisdom/speak-up/

http://scm.ulster.ac.uk/~B00582912/communication_design/design_diary.html

http://www.metatoggle.com/design_crs/purpose.html

http://www.dreamtemplate.com/blog/web-design-tips/proper-use-of-typography-for-web-design/

ITAP LECTURE 4

The notion of ‘inspiration’ derives from constant inquiry, based on research, observation, recording and experimentation.

“If you start with nothing you have to invent everything from scratch”

“Research should be Braod and in –depth, enabling you to innovate, not imitate” – Mark Wigan – Thinking Visually 2006

"Those who do not want to imitate anything, produce nothing". - Salvador Dali.

An artist or creative becomes inspired by many different ways. They look at the world that surrounds them, taking in objects, music, film conversations, observations of all senses. Primary research comprises of creating your own research whether it be sketching or photographing ideas. Secondary research can involve use of the Internet, libraries or looking at past works to capture inspiration.  Keeping journals of your Ideas, sketches and thoughts is key to remaining inspired as you can always reflect back for an inspiring boost, or use in a future project.  Jill Calder, an artist uses sketchbooks and carries one everywhere she goes. Using Moleskine or Fabriano paper and mediums such as inks pens and paints, to record her thoughts, ideas and inspirations.  Collecting is excellent for inspiring the mind, whether it is objects, leaflets, or as I do frequently photograph on my “iPhone”.

The notion of ‘inspiration’ derives from constant inquiry into everything we see or do — inspiration is all around us it is how we choose to use it.

“Inspiration does not come like a bolt, nor is it kinetic energy striving, but it comes to us slowly and quietly all the time” – Brenda Ueland

JILL CALDER - HEALTHCARE

JILL CALDER

JILL CALDER- SKETCHBOOK

An understanding and knowledge of ‘an audience’ can enhance and focus the communication.

To communicate the message correctly and effectively, an understanding of the target Audience is essential.  To understand and establish a connection with the target audience the communicator would research not only into the project but also the necessities of the audience. The target audience for an item of work will never be everyone. The target will always be a certain group. This could be age, gender group, ethnic group or religion. The Wonderbra advert ‘”Hello Boys” would be targeted at the western world rather than a county such as Dubai where it would be extremely unacceptable to show near naked females due to their religious beliefs. So when a creative practitioner is creating an item of work, they must first observe the target audience along with their beliefs or preferences. 

WONDERBRA ADVERT NOT SUITABLE FOR SOME PARTS OF THE WORLD

Bibliography

http://en.wikipedia.org/wiki/Brenda_Ueland

http://en.wikipedia.org/wiki/Salvador_Dali

http://arthistory.about.com/od/from_exhibitions/ig/dali_retrospective/dali_pma_05_09.htm

http://www.jillcalder.com/jillcalder_sketchbook.php

http://en.wikipedia.org/wiki/Wonderbra