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Art and Design A comprehensive guide for creative artists - Aaltodoc

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Illustrations can be done as painting artworks, collage<br />

<strong>and</strong> weaving. They can also be combined with text.<br />

Make sufficient consultations from friends about which<br />

illustration would be better than another.<br />

Some illustrations are meant to be done in collaborative<br />

projects to achieve particular learning aims. That being the<br />

case, ask <strong>for</strong> advice or comments from a decision maker at<br />

h<strong>and</strong>, or art director about where to choose from <strong>and</strong> why.<br />

Basing on the opinions provided, make possible changes<br />

be<strong>for</strong>e adding colours. Avoid proximity of strong colours—<br />

near the illustration. In other words, leave some empty<br />

(white) spaces. Empty gaps or spaces are absolutely<br />

necessary <strong>for</strong> they result into breathing space.<br />

According to Larned's (1925, 99) importance of white areas;<br />

“The illustrative feature will profit by white space. In many<br />

instances, the picture without a background is vastly<br />

preferable to one in which every inch of space is cluttered.”<br />

White areas provide the eyes with breathing spaces. Thus,<br />

even as it may be essential to use strong colours in a design,<br />

knowing how to use them—has a profound effect on the<br />

success of a destined illustration or design.<br />

How to explain a visual/identification symbol<br />

It is not so easy to assign a particular meaning to each <strong>and</strong><br />

every visual or identification symbol, except if a designer<br />

started by trying to examine some hidden facts concerning<br />

particular details found in each one of them.<br />

Hidden facts are almost certainly used as the guiding<br />

aspects which stir up actual meanings of an existing visual<br />

or identification symbol. For instance, we all see letters as<br />

individual characters, but characters are concrete symbols.<br />

They hide meanings <strong>and</strong> functions in abstract symbols. But<br />

it's not until graphic designers make a clear translation of<br />

those meanings that observers <strong>and</strong> readers will manage to<br />

interpret them.<br />

Equally, as we have previously stated visual or identification<br />

symbols MUST be brief, simple <strong>and</strong> easy to interpret.<br />

In Lidwell et al.'s (2010, 288) Stickiness, “simplicity can be<br />

expressed simply <strong>and</strong> succinctly, without sacrificing depth.”<br />

That is to say, visual designs <strong>and</strong> identification symbols are<br />

easy to underst<strong>and</strong> when they are depicted with “clarity”<br />

or “straight<strong>for</strong>wardness.” On the other h<strong>and</strong>, it is as well<br />

fundamental <strong>for</strong> a designer to make ef<strong>for</strong>ts of testing<br />

the obtained design in small, or in suitable large sizes on<br />

surfaces that cause delight <strong>and</strong> satisfaction to a prototype.<br />

On the contrary, visual adaptations such as trademarks,<br />

word messages; are ordinarily associated with one single<br />

word logo. White (2002, 242) states that a logo “comes from<br />

a Greek term.” It is “widely used to indicate all corporate<br />

trademarks ... or a combination of marks (symbols).” For this<br />

reason, do not be surprised to find a badge, an emblem,<br />

coat of arms, monogram marked out as a logo.<br />

Certainly, visual adaptations of identification symbols,<br />

which are easy to underst<strong>and</strong>, support a rapid mutual<br />

comprehension <strong>for</strong> users. Moreover, throughout the<br />

course of designing visual <strong>and</strong> identification symbols, it is<br />

sometimes necessary to integrate some details of deception<br />

to avoid <strong>for</strong>geries. Thus, will put control to un-authorised<br />

reproductions.<br />

In conclusion, the meanings of words stated in the tables<br />

indicated below are only relevant <strong>and</strong> limited to academic<br />

or educational objectives. Altogether, some explanations<br />

may reveal exact meanings as proclaimed by the following<br />

books: The Penguin, Dictionary of <strong>Art</strong> <strong>and</strong> <strong>Art</strong>ists (1997), as<br />

well as Macmillan Essentials Dictionary <strong>for</strong> Learners of English<br />

(2000).<br />

Monogram<br />

It is a decorative design created by using the first<br />

letter of one's name, institution or company—<br />

in an interwoven way. Monograms are easy to<br />

make if a designer is excellent with drawing<br />

letters or writing calligraphy.<br />

- Make a list of monograms you know.<br />

It is a symbolic object—designed <strong>for</strong><br />

well-judged aims or aspirations. Emblems serve<br />

specified groups of people, associations, a<br />

nation, a family <strong>and</strong> organisations as visual representations.<br />

- Look out <strong>for</strong> examples of Emblem items <strong>and</strong><br />

list them.<br />

It is almost identical to a label because it<br />

functions by sticking it onto a surface; of a<br />

car body, medicine containers <strong>and</strong> foodstuff<br />

packages. In our case, a sticker is a piece of<br />

(plastic) paper used <strong>for</strong> decorating surfaces. It<br />

is commonly used to show visual in<strong>for</strong>mation,<br />

pictures <strong>and</strong> words. Today stickers are used <strong>for</strong><br />

advertising; on billboards <strong>and</strong> signposts.<br />

98 99<br />

Emblem<br />

Sticker

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