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Which clippings match 'Visual Grammar' keyword pg.1 of 1
30 SEPTEMBER 2014

Christian Leborg: Visual Grammar

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abstract conceptsabstract objectsabstractionChristian Leborg • communicate visually • communication design systemscommunication design theory • complexity of dimensions • coordinate systemdesign formalism • design fundamentals • design principles • empty space • formatgeometric primitivegraphic design • ideal shape • language of design • lineline in spacelinesmodernist design principlespictorial systemsplanepoint • simple planes • surfacethree dimensional objects • transcendent line • typographyvisual design • visual design primer • visual fundamentals • visual grammar • volume • volumeswordless

CONTRIBUTOR

Simon Perkins
19 AUGUST 2014

Information Design and Data Visualisation

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2014accessible designclear communicationcommunication designdata visualisation • design for visual communication • Edward Tufte • information complexity • information design • information is dead until it is read • LATCH (acronym) • London College of Communication • mappingmeaningRichard Saul Wurmantimeline • Tony Pritchard • typographytypology • understandable design • usability design • visual communicationvisual grammar • visual representations of information • visually engaging design

CONTRIBUTOR

Simon Perkins
12 MARCH 2013

Examples of Chinese ornament selected from objects in the South Kensington museum and other collections

"We have long been familiar with the power of the Chinese to balance colours, but we were not so well acquainted with their power of treating purely ornamental or conventional forms ; and in the chapter in the Grammar of Ornament on Chinese Ornament I was led, from my then knowledge, to express the opinion that the Chinese had not the power of dealing with conventional ornamental form : but it now appears that there has been a period in which a School of Art existed in China of a very important kind. We are led to think that this art must in some way have had a foreign origin; it so nearly resembles in all its principles the art of the Mohammedan races, that we may presume it was derived from them. It would be no difficult task to take a work of ornament of this class, and, by simply varying the colouring and correcting the drawing, convert it into an Indian or Persian composition. There is of course, in all these works, something essentially Chinese in the mode of rendering the idea, but the original idea is evidently Mohammedan. The Moors of the present day decorate their pottery under the same instinct, and follow the same laws as the Chinese obeyed in their beautiful enamelled vases. The Moorish artist takes a rudely–fashioned pot or other object, and by a marvellous instinct divides the surface of the object, 'by spots of colour, into triangles of proportionate area, according to the form and size of the object; these triangles are then crossed by others."

(Owen Jones, 1867)

Owen Jones (1867). "Examples of Chinese Ornament Selected from Objects in the South Kensington Museum and Other Collections: By Owen Jones. One Hundred Plates", S. & T. Gilbert, 4 Copthall Buildings, E.C. Back of the Bank of England.

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1867 • ceramic glaze • ceramicsChinesecolourcompositioncultural heritagecultural significance of objectsdecorationdecorative arts • enamel • enamelled vases • flowersformglazeIndianInternet ArchiveIslamicmaterial culture • Mohammedan • Moorish • Moors • motifMuslim • object surface • orientalismornamentalornamental formOwen JonesPeoples Republic of China • Persian • pigmentpotspottery • rudely fashioned • South Kensingtonsymbolic meaning • vase • visual appearancevisual designvisual grammar • visual heritage • visual motifvisual pattern

CONTRIBUTOR

Guannan (cassie) Du
20 APRIL 2012

Principles of the Visual Language: A Dialect of Our Own Design

"A visual language informs all design, from architecture to print. Fluency in the same language drawn on by Bauhaus, mid–century Swiss, or postmodern design is essential for brilliant web design. In this practical talk, ground uniquely web–based interactions – from complex CSS3 animations and rotations to JavaScript behaviors – using that time–tested visual primer. Take a more considered approach to choices, evoke the desired emotive responses, learn how to better articulate your design decisions. Extend graphic design's grammar into a visual dialect of web design that guides us to smarter, beautifully balanced juxtapositions of elements in our new, multidimensional web experiences."

(Simon Collison)

Fig.1 Simon Collison (03 June 03 2011) "A Dialect of Our Own Design".

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aestheticsaffordances • articulate your design decisions • Bauhaus School • beautifully balanced • Christian Leborgcommunication design • considered approach • CSS3 • CSS3 animation • Dan Brown • design formalismDonald Normanediting through selection • emotive response • framegestalt principlesgraphic design • graphic design visual grammar • graphic representationgrid systemIndi YoungInternational Typographic StyleJavaScriptmapping • Mark Boulton • mental modelspictorial systemspostmodern designresponsive web designschema • Scott McCloud • Simon CollisonSlideShareSwiss Styletypographyvisual communication • visual dialect of web design • visual grammarvisual languagevisual screen designweb design • web experiences • web-based interactions • Wucius Wong

CONTRIBUTOR

Simon Perkins
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