Journal Article•
The Method of Graphic Abstraction in Visual Metaphor
TL;DR: The result showed that the major tools used in designer practice are paintbrushes (traditional hand-drawing medium) and software filters (computer media) and three abstraction methods were identified: a) shape simplification method, b) quantitative reduction and c) software-aided simplification.
Abstract: In the design fields, graphics are often a medium of communication whose goal is to reach mutual understanding. The process of graphic abstraction is one of the most important methods in visual design. Designers often use it to enhance the recognition and impression of observers. This paper investigated abstraction methods through design software research and research of designer practices. The result showed that the major tools used in designer practice are paintbrushes (traditional hand-drawing medium) and software filters (computer media). Three abstraction methods were identified: a) shape simplification method, b) quantitative reduction and c) software-aided simplification. Designers used software programs mainly for simplification of overall image (plane) with comparatively little use to simplify 'points' or 'lines.' In addition, the design software cannot fulfill designers' needs for visual abstraction. The findings from this study can provide valuable references for user instructions, graphic design and computer-aided design applications. INTRODUCTION To turn a real object (3D) into a 2D representation is an example of graphicabstraction in visual design, (see figure 1; Arnheim, 1969; Langer, 1953; Yo, 1985; Hsu, 1993). The abstraction uses a strategy of simplification of detail, so designers often simplify the shape of the original object to enhance the recognition or impression of observers (Arnheim, 1969; Bell, 1913; Gombrich, 1982). Thus, abstraction is one of the most important methods in graphic design. The function of graphics is to communicate messages efficiently and accurately in human life. As a result, the rational analysis of graphics and their uses might help to enhance that efficiency and accuracy. Although an analysis of rules in the field of graphic design seems more challenging than in the fields of architecture or industrial design, as far back as in the Renaissance, Leonardo Da Vinci proposed that painting should be approached with a scientific aspect. Mistakes are likely to occur, he suggested, if structures and outlines are drawn from impression, rather than using the tools of measurement. Modern-design methodology attempts to scrutinize design scientifically. Although there are still gray areas in which science cannot give an account, the methodology has a significant bearing on user instructions (Burden, 1996; Jones, 1992; Munari, 1989). With the development of digital technology, the application of design methods can be transformed into the computation that has also presented itself as an important research topic (Kirsch S Kirsch, 1988; Knight, 2003; Simon, 1981; Stiny & Mitchell, 1978). Therefore, discovery of the 'methods' behind design is beneficial to both user instruction and design computation. RESEARCH FRAMEWORK This research is a case study that exploras graphic abstraction in digital and traditional media. This paper investigates abstraction methods through design software research and design practice research. First, in order to reflect the trend that modern design depends heavily on software, software that serves abstraction functions was examined in the design-software research section. Four of designers' favorite software are analyzed: Adobe Illustrator 10, Adobe Photoshop 7, Macromedia Fireworks MX, Macromedia Flash MX. second, to understand the work of designers currently using graphic-abstraction methods, thirty-two Shih-Chien University sophomore and junior students, equipped with design expertise, were surveyed with regard to their practice. LITERATURE REVIEW Abstraction process model 'Abstraction' is widely discussed in philosophy, science and psychiatry. The Gestalt School is the earliest school of art to systematically carry out this type of study. They presented the law of Pragnanz, which states that the best form is the form that has been 'appropriately simplified.' This is because people's visual perception leans towards using the most economical method to receive information (Arnheim 1969, 1974). …
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01 Jan 2015
TL;DR: Claims that logos–driven images represent unquestionable truth are challenged, arguing that viewers still ascribe meaning to image, which can be subjective, depending on a sign–readerʼs knowledge about the content, their cultural disposition and personal assumptions.
Abstract: ion is explained in varying ways across theory (Kress & Van Leeuwen 2006; Kreuter 2009; Mitchell 2005; Painter et al. 2013; Wang & Hsu 2007). Discussions centre on the use of abstraction to depict degrees of realness or simplification of what is depicted. Kress and Van Leeuwen (2006) discuss how degrees of abstraction portrayed in a picture by the use of depth, colour saturation and tone variation can evoke different replications of the natural world. The degrees afforded by these elements are argued to act as modality cues, which contribute to the realness of the event and characters represented in the picture. That is, by decreasing (lowering modality) by reducing degrees of medium, depth, detail, and colour tone variation, the modality is lowered, abstracting the contents from a replication of the natural world. Conversely, increasing the degree of use afforded by these visual elements in pictures increases the modality. By increasing modality and the variances in and amongst these elements, the more closely the contents replicate the natural world thus reducing the abstraction. Kreuter (2009) discusses abstraction in terms of the motivated sign in evoking a sense of rationality, which he calls logos–driven image. These types of visual representations are intended to represent ʻtruthʼ with unquestionable scientific authority and objective knowledge that such as x–rays, maps or remote sensing imaging. Thus, unlike an image that evokes a pathos-driven response, logos-driven images are assumed to appeal to a viewerʼs sense of rationality, distancing or ʻabstractingʼ them from emotional connections. However, Kreuter (2009) challenges claims that logos–driven images represent unquestionable truth, arguing that viewers still ascribe meaning to image, which can be subjective, depending on a sign–readerʼs knowledge about the content, their cultural disposition and personal assumptions. Abstraction is also discussed in terms of degrees of reducing detail to simplify representations. Wang and Hsu (2007) explain the use of abstraction as a ʻreduction method.ʼ The reduction of colour tones, simplification of shapes, angles and line pathways is said to reduce the complexity of objects and simplify representation. Yet, they also argue that removing too much detail can result in an image becoming unrecognisable to the viewer. Less iconic and highly simplified images may therefore be more complex and difficult to interpret for example, while stick figures are generally identified as abstract representations of people, a simplified logo representing anion is also discussed in terms of degrees of reducing detail to simplify representations. Wang and Hsu (2007) explain the use of abstraction as a ʻreduction method.ʼ The reduction of colour tones, simplification of shapes, angles and line pathways is said to reduce the complexity of objects and simplify representation. Yet, they also argue that removing too much detail can result in an image becoming unrecognisable to the viewer. Less iconic and highly simplified images may therefore be more complex and difficult to interpret for example, while stick figures are generally identified as abstract representations of people, a simplified logo representing an
8 citations
Cites background or methods from "The Method of Graphic Abstraction i..."
...Drawing on the various theoretical perspectives about abstraction discussed in chapter two, I approached abstraction using a cline of representation utilising the quantitative reduction and shape simplification categories described by Wang and Hsu (2007)....
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...Wang and Hsu (2007) explain the use of abstraction as a ʻreduction method....
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...Abstraction is explained in varying ways across theory (Kress & Van Leeuwen 2006; Kreuter 2009; Mitchell 2005; Painter et al. 2013; Wang & Hsu 2007)....
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...If, as scholars suggest, highly abstract images that are far removed from sign–readersʼ experiences are more difficult to interpret, (Kress & Van Leeuwen 2006; Mitchell 2005; Wang & Hsu 2007) then students with fewer experiences of content represented in pictures may be disadvantaged....
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TL;DR: In this article, the use of image in large-scale referenced-based narrative writing assessments over a 10-year period in Australia reporting on phase one of a comparative case study.
Abstract: From a socio-cultural perspective, individuals interpret meaning from images depending on multiple factors including life experience, values, attitudes, interests and background. As such, engagement with, preference for and interpretation of images differs amongst viewers. From this premise, it seems unlikely that one visual writing assessment prompt will effectively suit all participants. This paper offers new research into the use of image in large-scale referenced-based narrative writing assessments over a 10-year period in Australia reporting on phase one of a comparative case study. Findings identify changes in prompt design and content each year, with significant changes accompanying the introduction of the National Writing Assessment in 2008. Conclusions drawn from the analysis state that while image is a powerful communicator of meaning, providing visual representations in national assessment plan for literacy and numeracy may privilege some participants over others, and in doing so, impac...
7 citations
TL;DR: In this paper, a visual semiotic model is used to detect and interpret visual syntax, such as geometric influences and color gradients, to determine the most influential visual semiotics.
Abstract: Ideation is a core activity in the design process which begins with a design brief and results in a range of design concepts. However, due to its exploratory nature it is challenging to formalise computationally. Here, we report a creative knowledge mining method that combines design theory with a machine learning approach. This study begins by introducing a graphic design style classification model that acts as a model for the aesthetic evaluation of images. A Grad-CAM technique is used to visualise where our model is looking at in order to detect and interpret visual syntax, such as geometric influences and color gradients, to determine the most influential visual semiotics. Our comparative analysis on two Nordic design referents suggests that our approach can be efficiently used to support and motivate design exploration. Based on these findings, we discuss the prospects of machine vision aided design systems to envisage concepts and possible design paths, but also to support educational objectives.
1 citations
TL;DR: Kbyivorzts et al. as mentioned in this paper investigated the audience's cogrxition of character personality through a questionnaire, at the same time, the design features of a eharacter personality are transfbrmed into a concrete learnable mode and profile identity.
Abstract: The desigr) method of a character personality generally depends on the individual experience and the aesthetic accomplishment of the designer. This paper outlines the tcndencjes of a character personality design based on the analysis of 3D animation characters, Furthermore, this paper investigates the audience's cogrxition of character personality through a questionnaire, At the same time, the design features of a eharacter personality are transfbrmed into a concrete learnable mode and profile identityl thereby matching with the role character, In PIXAR movie animations, the face profile design of a negative character is inclined to be narrow and triangular. Moreover, the proportions of various facial features, uch as the mouth and teeth, play an important role in the mo]ding of the negative character, as observed in this study, The methods and proccdures used in this study can be applied in the 2D emblem design ofthe character identity ofboth corporate and graphic characters (e.g,, cartoons and dolls). Kbyivorzts: RtwaR, Characier Pensonali4)L Pattern Recognition, Graphic Character 1. Foreword 1.1. Bacnground and Motiyes of this suudy Character design is usually dependcnt on the ipdiv{dual anist's experience and his or her aesthetic accernplishnent, sometimes with little understanding of the character's personality features and sul)sequently less accuracy tn portrayingthem[1,2]. Since the production of 7oj, SirOT:y by PIXAR in 1995, they have often preferred much more realistic personate cartoon effect on the desigti ofthe cartoon figure rnodeling. However, it is a corrrplex process tQ endow the cartoon figure personate features[3]. Diamond and Carey (1986)[4] put forward with the secend-order relational propertiest on the character personality so as to illustrate thc array of positions and angles as well as the figure facial profile on whicb the relati,onal angle2 could be formed by the vertical, horizorrtal, and relational lines3, This will result to the change of the figure appearanee and persenalityl whieh will make the audience produce various cogrijtion images, Reed (l972)[5] brings forward the prototype theory to account for the common characteristics of diffk]rent faces so as to form the prototype effect[6,7]. This theory stresses that the human brain stores many prototypes, which if compared with the facial stimuli seen, a pattern recognition wi11 be fu1fi11ed, The authoT attempts to make an aesthetic & cognition analysis and design method construction on the character personality in 3D movies according to ahove theories. This study aiins to explore the audience's cognition on the negative personality design as well as the design norms of the figure molding based on the figure analysis of 3D animation produeed by PIXAR. These norms can be applied into graphic art edueation, such as in cartoons, pictUTe books, and the specific figure design in e:rterprises. The expression of the character personality will leave an irrrpressive image on the audience's rninds. The objective of this study is as follows: (a) amalyze the negative personalities of the PIXAR animation figures and their facial types, shapes, and relational angles (see Sec. 3.1) and (b) investigate he negative character of the audience's cognition. For the cognition degree and prefile features ofa negative character's features, please see Sec, 3,2. THE SC[ENCE OFDESIGN BULLETINOF JSSD Vd,58 No.2 2011
1 citations
Peer Review•
TL;DR: In this paper , a simplified approach was used to determine if "Less is More" is still a trend in comics' Peking opera characters, and the results indicated that the proposed simplified approach can be applied to the creation of dramatic characters.
Abstract: A simplified approach was used to determine if “Less is More” is still a trend in comics’ Peking opera characters. There were 225 website volunteers who took part in the study. Via a questionnaire survey and analysis, this study explored the feasibility of “simplification” in comedy. The results indicate that the proposed “simplifying” approach can be applied to the creation of dramatic characters, but the scale of simplification must be adjusted flexibly to suit different subjects. For audiences, there is not much recognition and sympathy for the works that are simplified in the extreme and the current symbolization. The simplification used in this study is merely the first step in testing the usefulness of simplification as an approach. It is used as a means of understanding the cognition of the audience to accept the simple features of Peking opera characters. In subsequent studies, the proposed “simplified” approach is necessary to adapt and improve with a view to practical application. It also requires an in-depth analysis of the cognitive differences of the different participants according to the cognitive and communication theories of artistic creation.
1 citations