Design Ideas Flashcards

1
Q

Ornamentation

A

Graphic veneer illuminate content. Controversial in its use. Tends to be used to conceal faulty merchandise and flawed concepts. Done well, it can enhance a product when used with integrity. Can be stuck in time and become obsolete.

The worst stems from the careless application of anachronistic details without function. 12

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2
Q

Parody

A

Nothing is sacred. Most common form of visual satire. The act of altering a well known image into a visual pun or graphic witticism. Mainly used during the second half of the 20th century. Consumerism made it popular.

The audience must recognize the original to appreciate the ironic transformation. Parody is often in the eye of the beholder, and is often one of the most difficult methods to achieve successfully. 64

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3
Q

The Provocative Gesture

A

Body language can motivate, excite or outrage. During turbulent decades in the early twentieth century, iconic heroes in meaningful poses turned to extreme posturing For example, clenched fist of Rosie the Riveter. Statue of Liberty kissing Blind Justice. It’s imagery of gesture. 50

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4
Q

Primitive Figuration

A

The human figure is reduced to graphic elements. The simplification of body, head, arm, leg and facial features. Is the reduction of realistic forms into raw, abstract, interpretive shapes. It heightens the intensity of personal expression.

Served as protest and the opposite of the Romanticism of the late 19th century. The stark simplicity was the blue-print for graphic revolution. 21

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5
Q

Triangulation

A

Building on Constructivist foundation. The idea of buttressing the visual components of a layout against each other to form a network of right angles and diagonals.

Perfected in Russia in the 1920s. Made a return in the 1970s. 48

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6
Q

Photomontage

A

A new tool for propagandists. The manipulation of two or more different photographs, combining negatives and positives, to form a convincing new image. Changed how political satire and nationalist propaganda were produced. 44

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7
Q

Paper Cutouts

A

Playful colors and shapes. Using childish cut-and-paste collages for graphic design. In the early 20th century, collage was a Modern alternative to the traditional media.

Cut paper triggers a host of visceral responses in the receiver. There’s a sense of lightness and informality. It suggests youth and play. 24

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8
Q

Pictograms

A

Worth a thousand words. They are Isotypes or a graphic means of communication. Intended to create narrative visual material. Done for a common, world-wide language. Used in transportation, especially airports. 45

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9
Q

Layering and Overprinting

A

Transparent colors add depth. Layering images to create a complex picture. Dates back to caveman times. Or creating the illusion of layering with opaque color blocks that change color where they overlap.

Using extra ink as a creative inspiration. Using a palimpsest, an example of which is taking ink-stained printer’s proofs and reusing them as background to print unrelated artwork. 68

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10
Q

Design Thinking

A

Define the problem, design the solution. Also known as “concept design” or “integrated design strategy”. It’s how to tackle creative problem-solving. First identify the problem, then brainstorm.

Thinking approach demystifies, for clients, the creative process, and helps them feel comfortable with the resulting proposals. 69

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11
Q

Culture Jamming

A

Subversive spoofing. Disturbing the dominant culture. Using humor instead of attacking are more likely to inspire. Subversive spoofing. 81

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12
Q

Abstraction

A

Translating emotions into graphic form. Abstraction is rarely used for expressing ideas, promoting an event or telling a story. It does show that you don’t have to be visually explicit to be understood.

Subtle patterns in abstraction can be recognizable and form into representational art. Although conceptual imagery falters in this area. Music works well with abstraction. 47

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13
Q

Film Title Sequences

A

Cutting-edge credits. Designed to appeal to people who have already bought their ticket, this is the method by which films or television programmers present their title and key production and cast members, utilizing conceptual visuals and sound. 75

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14
Q

Monumental Images

A

Making a statement that can’t be missed. A tool for perpetuating myth and building heroes. The Statue of Liberty could be a mascot for the idea of freedom and the American way of life.

Represents power, confidence or accentuates meaning such as a large eye watching you. Large ads effectively and imposingly deliver. Large triggers a sense of awe. 9

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15
Q

Riddles and Rebuses

A

Visual pranks can incorporate concealed messages. Symbols, sign, cipher, rebus, icon, graphic pun, emblem… Figures of graphic speech, each in their own way strives to bridge the gap between words and images. They form a visual language.

Riddles twist things such as a rainbow of colors used with words that are other colors. Rebuses must be translated into words from the pictograms. Rebuses challenge perception. 43

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16
Q

Pixellation

A

Stylistic emblems for the digital age. A visual effect caused by enlarging a bitmap to such a scale that individual pixels are exaggeratedly visible to the eye. Used to conceptually represent and critically comment on media. 98

17
Q

Frame by Frame

A

A sequential visual narrative tool used for storytelling. It’s ubiquitous throughout antiquity and later history. 58

18
Q

Rays

A

Radiating lines confer special status. One of the most ancient iconographic symbols. Attributed to gods and heroes.

Have been used in flags, iconic art design, and even to frame Mickey Mouse. Commercially, they’re used to highlight importance, bargains, short bursts of energy, or squeaky clean. IBM used them as thinking rays. 4

19
Q

Strips and Panels

A

Why the language of comic books has been an invincible art. Not telling all in a story. Allowing the audience to fill the gaps in the narrative. Comic books encourage readers to be mentally alert as they follow the action from frame to frame.

Comics fly around a scene, showing it from every possible angle. The gutters add to the magic and mystery. 57

20
Q

Red with Black

A

The powerful partners. Black and red have a stimulating power together. They tend to be used in competitive ways. The combo has a Nazi and fascist past. Today’s designs are graphically arresting that steer clear of past symbolism. 31

21
Q

Collages

A

Cutting edge appeal. Picking and choosing images and words from the supply of existing material and recycling them to express an original thought. Also conceived as a critique of a materialist culture that assaulted individuals with a profusion of images, messages and slogans. 42