Challenge One

Representing Something: 

Icon, Index and Symbol

INTRODUCTION 

The designer combines visual materials-words, pictures and other representations into a specific visual-verbal gestalt that a specific audience can understand. The graphic designer is simultaneously message maker and form builder. This complex task involves the need to know HOW to form and intricate communications message while building a cohesive composition that gains order and clarity from the relationships between the elements (or parts).

The designer needs to infuse content with resonance to engage his/her audience. 

Every representation—from a small period at the end of a sentence to a logo to the most complex color photograph-has a dual existence. It is an optical phenomenon with visual properties, and it is an communicative signal that functions with other signals to form a message. 

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This duality simply put means: every representation is denotative and connotative.

Denotation: the direct meaning (literal)

Connotation: the in direct meaning (suggests)

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Every representation is a sign or something that stands for something else and can be categorized as one or more of the following types.

Iconic: linked to their object through similarity 

Indexical: linked to their object through physicality or causality

Symbolic: linked to their object arbitrarily (learned behavior)

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ACTIVITY

In this assignment you will explore different methods and strategies (both formal and conceptual) for “representing” a three dimensional object in two-dimensions.

PARAMETERS

You are asked to make 16 different representations which identify the concept of any animal of your choosing.

01 find or take a photo that best describes your animal

02 must be gestural

03 must be painterly - system of thick and thin strokes, calligraphic

04 must be graphical: use only right angles, straight lines and 

      (only two stroke widths)

05 must use only circles, triangles or squares 

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06 you must use the photocopier + cut/paste paper by hand 

07 use alternate marking tool, nothing traditional

     (no pencil/pen, brush, marker)   

08 must convey a specific meaning (use only one line) 

09 must convey a specific meaning (a behavioral characteristic)

10 must express the texture of your thing 

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11 must a hybrid: select best expression make "nirvana"; 

      form that feels right.

12 must create an index of your animal 

13 must convey a specific meaning 

     (an adjective symbolically attached) 

14 must be radical an extreme abstraction of another; bizarre

15 must explore making marks on "another surface";

     (no laser printer paper)

16 must be entirely typographic 

     (use a word that sums up your animal, real or made-up)

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Exploration : All forms of 2D and 3D media are encouraged.

     

FOR FINAL

You will be making the art in Photoshop and Illustrator and laying out the squares in InDesign. It will be good practice and it will keep everything in one document/poster. 

16 6 x 6 inch squares flush to each other (makes 24 x 24 inch square) leave 2 inch margins on top, left and right side...on the bottom leave four inches and type in the name of your animal in 18 point akzidenz grotesk...center that type in what will be a 28 inch by 4 inch rectangle.  

 

OUTCOMES

You will ask the question, “How can I communicate (insert your object here)?” and be able to distinguish strategy (iconic or symbolic) from execution (realistic or abstract). 

The student will develop critical eyes pertaining to visual relationships by analyzing and evaluating visual relationships.

 

The student will apply a intermediate understanding of the design process and be able to imagine visual alternatives, to make qualitative judgments among the alternatives, and to explain verbally the reasons for these judgments. 

The student will apply multiple approaches to mark-making and analyze the semantic value of these form generative techniques.

 

The student will gain intermediate knowledge in file management, file formats and bitmap vs. pixel-based images.

 

The student will apply their understanding of the design principles and organize a given area of two-dimensional space with respect to some specific, clearly stated aesthetic and/or communicative purpose.