brand associations that are connoted by certain colours. great wheel to help have an awareness of what colours mean what.
see also:
Colour Scheme Harmoniser
Colour in data visualization
Colour in data visualization references
Colour Wheel Associations
&width=400&height=600 "Colour Wheel Associations")
Aesthetics & Computation Group
instantiating
computation : tom white
exploring visual representations of different models of computation that
lend themselves to direct manipulation in order to better understand and
construct information spaces
codefocus
: jared schiffman
reeavaluating the process of writing programs and the visual environment
in which this activity takes place. to make writing and reading code
more inuitive through an enhanced visual infrastructure
anemone
(live version) : ben fry
using the process of organic information design to visualize the
changing structure of a web site, juxtaposed with usage information
genomic
cartography : ben fry
a series of experiments combining visualization and genomics.
expressing qualitative features of the human genome through advanced
visual representations.
These are some of the projects that I will certainly try to have a deeper
reader about from the aesthetics and computation group featuring john maeda and
ben fry. I was aware of the project below as most people are,
processing :
ben fry and casey reas
processing is an environment for learning the fundamentals of computer
programming within the context of the electronic arts. it is an electronic
sketchbook for developing ideas. processing is an open project initiated
by ben fry and casey reas, of the interaction design institute ivrea.
A very good group that i will certainly follow to keep
up-to-date as they try to explore language, mapping (space), communication.
Truly creative projects that I must have a good read, may just have to blog
individually upon further inspection. I found this group through http://feedproxy.google.com/~r/serialconsign/~3/PKLFOJPUrDM/information-visualization-and-interface-culture with a review of a chapter written by greg smith for Handbook of Research on Computational Arts and Creative Informatics which will be released
sometime in the next several weeks.
Typographic Nuance
'a typographic interpretation of obama's inauguration speech, made for dutch magazine 'creatie' the only rule was no images allowed... i decided to analyse the intonation by watching it on 'you tube' and breaking it down in terms of recurring words and emphasis...'
It is nice to finally see a more creative typographic approach to visualising obama's speeches. Looking at what i like to term typographic nuance, examining the use of alphabet & numbers paradigms.
It really delves into the literature from Post-structuralism, deconstruction (jacques derrida) & barthes, with authorship issues as the meaning (semantics of language) is determined by interpretation on part of the viewer, and so as barthes described this as being the death of the author who is unable to construct meaning.
‘The spoken word is, generally, less formal. Dialogues involve interaction (speaker and listener) are notoriously difficult to ‘control’. This, of course, is also their value; offering the creative, thinking process in its improvised form’ (david jury/about face pg 134).
Of course interpreation takes you into semiotics (the study of signs) with structuraliism french literary theory Ferdinand de Saussure who quite rightly 'posited that signs, rather than being isolated elements with self-contained meanings, are culturally independent parts of an overall network whose meaning is derived from the relationship between the parts’ (Dliteracy, heller/pomeroy, p149).
This cultural independancy is partly the reason that communication has these "open" interpretations of meanings that is where the wonderful (graphic design orientated blogger here) Cranbrook academy and Katerine McCoy, see French Currents of the Letter from 1978 which this work really reminds me of (r.poynor, p66) and jeff keedy & ed fella, then Cranbrook themes continued in David Carson & Neville Brody.
‘Reading requires that we use our intellect, but deconstructed typography further encourages a “shifting movement from awareness to knowledge, to desire and its negation”. The eye roams, looking into the printed page or glowing screen, where meaning is revealed through an evaluation of the entire space. Deconstruction has not simply addressed the look of design but a way of looking at the design’ (GD&R, gunnar swanson ed/zelman, p59).
This type and space led my research onto Stephane Mallarme with 'les coup de des' 1897. Mallarme states, ‘the poem “does not everywhere break with tradition; in its presentation I have in many ways not pushed it far enough forward to shock, yet far enough to open people’s eyes”’. This idea of engaging our intellect and making us interpret this space, typographic deconstruction (GD Concise History, hollis, p37).
Also not forgetting Guillaume Apollinaire with 'Calligrammes' 1918 leading off to concrete poetry and this fine design is continued with John Furnival & more recent mississippi, functioning ferdinand, 389-type, 3d-calligram, typographic-city-child and probably more.
This coninues quite rightly with word as image as the conversation does not need image as Creatia said no image. Lovely to see Infographics blended together with concrete poetry, I know it is monochrome but does it really need colour? wonderful work.
I explored typographic techniques with examples in my work, just leave comments or sign up to visualthinkmap.ning.com and message visualthinkmap i can share my findings back then.
Great project. Try the word links as there is a lot of good stuff i tried to link through to.
Thanks martin pyper
from: http://www.behance.net/Gallery/obamas-speech-a-typographic-interpretation/209583
found: http://infothesis.yanamitchell.com/post/95935291/obamas-speech-a-typographic-interpretation-on
check out:
type2 nuance a4 sec2 - 2005
poynor reference is from the book No More Rules, (cranbrook link looks inside the book).
Notebook Route Map
This is showing the visual communication of my thoughts on page(s), (9 pages). A visualisation through the journey of my investigation on the terrain of thoughts.
They meander accross the double page spread and mostly are connected via their physical position, i.e. a train of thought finishes, it restarts at the same point at the edge of the page on the next.
They were experiments to see how I visualised my ideas. Whether their physical arrangement through the notebook of my research, ideas, investigations helped me understand better. Re-Re-Reinvestigation.
The second image (route map) is for others to use, simply overlay it on any terrain thou wishes squire, your own notebook pages, maps etc. Then visually think and elicit thoust own topographic connections and routes.
It is quite a conceptual abstract notion to take the visual direction of my thoughts on page(s), the journey of my investigation on the terrain of thoughts and utilise this route with alternative content/terrain. Really like the abstract/organic lines mixed with geometric shapes bringing a bit of order to my thoughts (chaos).
Some experiments I have created, playing with that great notion of 'the map is not the territory' - baudrillard. Hence investigations into what is the territory, and can you utilise maps in different territories. Spatial arrangments intensifying/enhancing cognition. Got me buzzing.
Hope they're interesting.
The creative commons - attribution - non commercial - share alike
Street Visual Perception
These visual chalk drawings are great illusions of depth in our environment. changing our perspectives, and here, providing us with some wonderful humour.
Julian Beever is an English artist who's famous for his art on the pavement of England, France, Germany, USA, Australia and Belgium . Beever gives to his drawings an amazing 3D illusion.
The second one it takes a second look to tell which ones real.
Fantastic.
Watch the Evolution Design
Tom Gauld visualised time a little differently challenging our perceptions in his drawings, doodle style thinking, watch design visual for United Arrows called EVOLUTION.
Rather than using numbers normally depiciting time he takes his solid black characters to depict time as a sequence in evolution as opposed to a sequence in numbers paradigm.
Another great alternative perspective to time (see Dynamic Time Visualisation) that still functions through the placing of the images, it merely making the familiar strange creating a conflict in form (doodles rather than numbers) that needs to be interpreted.
There are many great quirky illustrations by Tom Gauld charting his fantastic imagination who is featured in The Picture Book: Contemporary Illustration & Pictures and Words: New Comic Art and Narrative Illustration.
Source: http://images.google.co.uk/imgres?imgurl=http://www.cabanonpress.com/images/tomsbits/watch.jpg&imgrefurl=http://www.cabanonpress.com/tomsshed/8.2.watch.htm&h=434&w=402&sz=37&hl=en&start=1&sig2=jgEeYSpw3VoosVMsW7QO9A&um=1&tbnid=rHPWzGlc3AvO6M:&tbnh=126&tbnw=117&ei=HDVISInoNYuw6wPt7ujwBA&prev=/images%3Fq%3Dgauld%2Bevolution%2Bwatch%26um%3D1%26hl%3Den
Dynamic Time Visualisation
Julien Bayle.net talks about visual design and more. He works on social network visualizations, generative art and data visualizations.
He has had some of his social network visualisations published on visual complexity.com.
His dynamic clock to visualise time is simple and innovative. Rather than just static numbers around a circle and handles, he uses space (area) in circles to represent the amount of time elapsed in seconds (dark blue), minutes (white) & hours (light blue).
A great alternative perspective to time rather than the usual. Certainly making the familiar strange through a conflict that needs to be interpreted.
http://www.julienbayle.net/complexity/visualization/clock/
He has had some of his social network visualisations published on visual complexity.com.
His dynamic clock to visualise time is simple and innovative. Rather than just static numbers around a circle and handles, he uses space (area) in circles to represent the amount of time elapsed in seconds (dark blue), minutes (white) & hours (light blue).
A great alternative perspective to time rather than the usual. Certainly making the familiar strange through a conflict that needs to be interpreted.
http://www.julienbayle.net/complexity/visualization/clock/
New York Times Key Magazine Cover
Note that I dont have an obsession with New York at the moment, but with such great art foundations of Rauschenberg, DeKooning & Pollock its no surprise of its creative vein. Today technology is the key that has fused creativity & opened boundaries to allow interdisciplinary practice.
The New York Times real estate magazine Key started with the cover design concept of hiring people that are brilliant to do personal interpretations of what a key means to them & their lives. The 1st cover in the Fall 2006 by Carin Goldberg featured all the places she lived at using the font Dynamoe (green & black thumbnail) & spring 2007 (yellow & purple thumbnail) was designed by new york design studio 2x4.
In dialogue with John Maeda (author of Creative Code: Aesthetics + Computation) art director Dick Barnett looked at some of Maeda's sketches and replied to him saying how he's 'loving #3 Google Mappish Mondrian' (3rd thumbnail along) idea and how he might 'think of a way to make it more personal to [maeda's] life'. Maeda responded utilising Boston, he states how he 'thinks of the world as a sort of map of cities', a topographic territory, he 'mined the internet for all the cities with an airport' & made a simple diagram and then drew some 'fluid like curves [framing] to connect into the centre of the keyhole' (4th thumbnail), (Centaur Publication, 2007, p. nov – 42).
Maeda wanted to concentrate on the background rather than the foreground & after some design processing (problem solving) such as replacing fonts used to that of Key magazines T-Star, it was finished. The design is brilliant, although probably not that easy a task to create without access/stroke knowledge of computer science functionality but excellant aesthetics. The overall white stands out from the blue (a colour normally percieved as depiciting sea in maps) causing a slight incongruity on part of the viewer, map reader/user. Boston being the epicentre of travel in this map providing the key access to other cities and the viral red linking lines spidering the topgraphic locations.
Excellant Map utilising technology to visualise data functionality mentioned upon with Bradford Paley, in the heart of its design.
'John Maeda is an artist and a computer scientist, and he views the computer not as a substitute for brush and paint but as an artistic medium in its own right. His mission is to foster the growth of what he calls 'humanist technologists'- people that are capable of articulating future culture through informed understanding of the technologies they use' (http://www.designboom.com/eng/interview/maeda.html, 2008, p. john maeda interview).
More examples of the stages of Maeda's Key Cover design here, http://www.nytimes.com/slideshow/2007/09/06/realestate/keymagazine/20070909_KEY_COV_SS_index.html
Creative Review. New York. Centaur Publication, 2007, p. nov – 42).