You can sketch to brainstorm, find or articulate ideas, or to present a project to team members, technical producers, and, of course, to clients.
This book teaches you how you can communicate through your sketches. Includes portfolios from leading international design studios. Short-link Link Embed.
Share from cover. Share from page:. More magazines by this user. Close Flag as Inappropriate. You have already flagged this document. This chapter discusses the creation of a visual presentation with an integrated approach, considering the position of the viewer. A designer, especially an industrial designer, will spend a significant amount of time communicating his or her ideas to others. At various moments in the design process a presentation of some kind is necessary.
This book discusses a variety of these visual presentations. For instance, early progress reports, presentations to support the decision-making process for selecting from suggested concepts, presentations for fundraising, presentations to inform engineering, final presentations on the outcome or transfer of a project, etc. These moments in the process largely determine both the content and the character of a presentation. Additionally, the audience of a presentation design chief, client, stakeholder, etc.
The audience can be internal to the design studio, such as co-workers, colleagues or management. On other occasions, the audience will consist of the client, the manufacturer or the user.
The message of a presentation differs in each situation; you may present your ideas for fundraising purposes, or in order to transfer the design to engineering. It can be the communication of an innovative idea, a functional shape, an instructional drawing or a manual for usage. In short, these different audiences and different messages need specific approaches to communication. An image, as referred to in this book, is taken to mean visual information in 2D. This can be a sketch, a rendering, a photo or combinations of those, eventually with some text added such as short remarks or descriptions.
In our previous books, we focused on the act of sketching itself, demonstrating various techniques — both old-school and digitalincluding their applications in the global field of industrial design. Now, we are excited to show the powerful effect of sketches and drawings in presentations.
Most design cases presented will display sketches in ideation. Ideation involves a variety of choices, plus analysation and evaluation. However, this book covers a broader approach to sketching within visual communication, also looking at the visuals on websites of designers. The Design Cases of a range of international design studios show a variety of practical examples of visual perception theory being applied professionally, and often intuitively. We placed each case at the end of the chapter we considered most relevant to it, but we encourage you to find more principles of Gestalt, visual semantics and rhetoric in each of the cases to gain a better understanding of these aspects within the context of product design.
Throughout this book, we have used thumbnails to visually refer to the cases demonstrating the aspect discussed at that point. You will find our notes in a more moderate font, as we tried not to interrupt the design story itself.
We will demonstrate the importance of the reptilian brain theory, the Gestalt theory, visual semantics and visual rhetoric, after which we will conclude with briefly touching on visual perception itself. An overview of influential gestalt principles is offered and discussed within the context of product design.
The chapter on Visual Semantics discusses visual information, and how it refers to meaning, which is never the same for everyone. In our final chapter, we will wrap up by considering a more holistic approach to visual perception. Theories on visual communication are highly useful tools for reflecting on and discussing images.
On the other hand, intuition plays a role in creativity that is not to be underestimated. The absolute that is grasped is always perfect in the sense that it is perfectly what it is, and infinite in the sense that it can be grasped as a whole through a simple, indivisible act of intuition, yet lends itself to boundless enumeration when analysed.
This introductory chapter establishes a framework and a starting point for discussing various theories on perception and the display of information. References [1. If we compare this to the development of people from child to adult, we can see a similarity in the sequence in which the various brain levels are used.
Little children mainly use their old brain; their visceral survival level. As we grow older, we tend to explore experiences beyond this level. We start using our behavioural and our reflective brains, which can eventually override visceral responses.
Things that are viscerally negative can become reflectively positive. For instance, we get. Another example is that many delicious and rich dishes include a bitter taste. Additionally, our colour preferences get richer and subtler. As we develop ourselves more, the behavioural and reflective level will gain increased influence.
The behavioural and reflective levels are sensitive to training, education, sub culture and fashion trend. Gestalt theory is defined by means of principles based on experiments on how people perceive certain visual information. This chapter offers and discusses an overview of nine influential Gestalt principles within the context of product design sketches and presentations. The Gestalt principles can help make visual information more efficient and create more unity.
Using the Principles of Gestalt, we will discuss: — creating a focal point — creating visual balance — creating a visual hierarchy In evolution, reading emotion is essential for survival. Because of this, we have the tendency to read emotional responses into anything, animate or inanimate. It is a strong principle that may even be applied to our general sense of perception, rather than just visual perception.
We look for simplicity and meaning in the things we perceive. Even in complex shapes we try to see something simple and meaningful. We look for clear, uncomplicated symmetrical shapes and as few of them as possible. That is why we see the teddy bear below before we see the objects in the image it is made from. That is why we first see the shape of the sausage instead of the separate food items in the HEMA advertisement. This and most Gestalt principles describe a certain pattern recognition which helps us make sense of the information overload from our surroundings.
The brain does so without much conscious effort: it continuously closes the gap between observation and knowledge. What your eyes record is not what your brain perceives. We simplify, select and interpret. Attached presentation explains the functionality I am looking for. For each order number I want to download artwork from a URL, generate a PDF barcode and zip them together into a zip archive with the order number being the file name of the archive.
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