Movement/ Motion

Here is the new Ferrari 458 Italia we can see motion cues used in design, not just in the background moving but also in the actual lines of the car.  The car is very low to the ground giving a sleek powerful feel as you look around.  The lines in the headlights integrate themselves all the way to the back of the car, the lines start low and end high giving us the idea that this car is travelling 200 mph when in reality its standing still.  The car is very sleek and smooth as it is designed to be a streamline as possible and cut through the air.  This affect to make the car cut through the air as fast as possible is called aerodynamics.  On a beautifully engineered car like this Ferrari we can use these lines that have been made for aerodynamics to make the car look as if its in motion when its not.  If you look at this picture of the Ferrari closely you can see that they’ve made the nose of the car the most relevant and the back of the car slightly smaller to give us that feeling of motion.  We can feel the car moving closer to us because of these different depth and motion cues that are used.

This is an image of the new 2012 Masarati Granturismo; this is a great example of movement in design.  The ad itself is partly what I would like to talk about.  We can see in the still picture that the Masarati is moving through its background, look at the rims on the car.  The rims on the car are moving so fast in real life that we are unable to see the details in each individual spoke, they see to just blur.  This blur is apparent motion, the blur makes our brains understand that this car is moving and moving fast.  Like the Ferrari 458 we can see motion designed into the lines of the car.  The lines on a sports car usually begin low and end high and this is another great example.  The line that is relevant around the fenders on the front continues there way to the back of the car and end up in the sharp upward direction in the wing.  These lines on the sides of the car give the beautifully designed Masarati Grantourismo movement in our still environment.

Dimension/Depth/Space/Scale

This is a photograph of a new Porsche 911 Carrera S; the different visual cues that are found within the photograph help contribute to the overall feel.  There is no linear perspective to show distance so we are forced to look at the different colors and textures that are overlapping each other.  When we look at overlapping textures we can see that there is depth.  Without depth or visual cues the photo would look flat and weird to our eyes.  The two plastic barriers and the Porsche are the closest to us for they are the biggest and they are on top of every other layer.  Following that layer is the concrete barrier and then the train, we can tell all of this because of overlapping.  Relative height is also important here; we see it between the concrete ground, the Porsche, and all the way up to the clouds in the sky.  This helps our eyes determine what is most important to look at, that’s why the first thing your eyes go to is the back end of that Porsche.  It is the brightest, biggest and most relevant feature in the photograph.

Tone and Color

When I started to think about what I wanted to use for this portion of the assignment I instantly thought of and IPod advertisement.  The ads are very simple but very strong and makes the product advertised feel very powerful.  The use of color and tone are very strong in this example and help get the message indented across its viewers. 

The two colors that were chosen, pink and blue, are very contrasting colors that make the women dancing to her music seem to jump off of the page.  These colors are used to create a positive and negative affect for the view, the blue girl being the positive and the pink background being the negative.  These contrasting colors seem to give the ad light. 

There are also different hues of blue and pink within the ad to make the women seem even more excited to be dancing and moving about with her new IPod.  The different colors change and produce interesting patterns that draw even more attention to the dancer.  The intensity of the blue changes and gets lighter as it goes down producing a gradient affect.  This draws even more attention up towards the main point, the IPod.

The final thing and the basic point of this ad is the IPod.  Using color and tone apple has made my eye go strait to the only white object, the IPod.  The IPod and its headphone cord are the main point of the ad so that is why they have decided to make in completely different from everything else you see in the picture.  The contrast of that white against the dark blue and pink make it pop out so much more than if it were black or some other color that doesn’t clash as hard with the blue and pink.  

Automotive Design

One of the main design principles brought up by Dondis really stood out to me in this example, and that is lines.  Lines are such a powerful part of what we see here in this Ferrari 458 Italia xx.  The line and angle of the hood as it come up from the ground and into the window.  The basic shape of the car is very sweeping from front to back with almost a teardrop design.  The curves lead the styling to be very soft, but the harshness of the lines contrast the curves and give the car a very edgy feel.  The edgy feel and Ferrari deserves.  The lines that follow the intake on the sides of the car open up very wide then get smaller to give off a very powerful feel.  The rear fenders that extend outward are very flat but start lower and end higher, this gave the car a very controlled and powerful feeling as well because of the size of the rear tire and fender areas.

The next element that I would like to talk about is shape.  The circle is a very powerful shape in that it never ends and there are no weak corners to get in the way.  The Volkswagen beetle was designed by in command of Hitler during the WWI.  Hitler demanded that Dr. Ferdanand Porsche design him a strong practical car that his country and people could use.  This was the car that Porsche came up with.  The circle is used heavily in the design of the beetle and is still scene in the 2011 beetle.  The circle is a very strong design both structurally and aesthetically, you can see the roof curve down as if were just half of a circle.  With no edges or line to get in the way you create a very simple car.  The car doesn’t see to be superfluous at all and seems to blend in.  This design is meant to be simple, cheap and strong.

The factor of color places a huge roll in design and is especially strong in color.  This is a house that was designed by my father that uses color to make the appeal more powerful as well as using color to bring to gather the different clashing materials to produce an affect all in its own.  The brown rusting metal that is on the outside of the house gives off a very natural feel that tries to blend in with some of its back ground colors.  The brown is there not to clash with the environment but to simply contrast it.  But when we look at the very blue glass used as the roof over the front door or the glass used in the landscape we fell something sharp that hadn’t been felt with the other colors before.  The different color of blue gives of a very cool and cold feeling in contrast to the warm brown of the rest of the house.  The use of color in design is very powerful for it interprets many different parts of the brain and helps you understand more clearly what the architect was trying to show.

Visual Thinking Research

         I asked one of my roommates to participate in these puzzles with me.  He actually found them interesting and sometimes difficult.  Some of the techniques that we found helpful were to write down on each shape the number that we counted it as.  When we didn't do this we tended to lose our spot very easily, and tended to count shapes more than once or not at all.  We noticed that once our eyes found a certain pattern or arrangement of shapes it was hard to unfocus on that space and begin looking at the picture again like it was our first time.  This has a lot to do with our visual memory for our brains did not want to forget where those triangles or squares were when we originally saw them.

        When we couldn't find anymore shapes we tended to try and step back and slow down a little bit so that our brains could look at every possible scenario.

Visual Perception 2

This is a picture of my house designed by my father in the east bay; the house is located in Lafayette.  This picture I took myself from the top of the street looking down upon the house.  The mountain you see in the background is Mt. Diablo.  Driving up too the house the structure remains invisible until you crest the hill into the driveway.  The first thing you notice when you drive up is the huge view of Mt. Diablo and many areas surrounding the mountain.  The view is breathtaking and holds your attention for the first few moments then your eye and brain begins to explore the rest of the house.  After the mountain my eye goes straight to the front door, and the glass plate that is above protecting and changing the light that lands on the front door.  After the front glass has been looked over I find great interest in the extremely aggressive green plants in the blue grass on either sides of the front door.  These wild plants give an almost “avatar” feeling.  

            Many of the lines on the house are horizontal so my brain started to connect the lines and make patterns both horizontally and vertically.  The amount of glass that is used is a real eye catcher because of the color differences.  The contrast of the brown metal and blue glass is awesome, as well as the grey driveway.  The contrast helped me a lot to organize what I was seeing for the metal is usually grey but in this case the rust made it brown, an almost wood like color.  With these colors between wood and metal being so similar I was left to look at the differences between the textures of the two surfaces.  The patterns within the building leave my mind to think and eager to see the rest of the house in order to find more and more line patterns. 

Visual perception 1/ Top-down Visual Processing

This is the Porsche 911 GT3RS driving very skillfully and fast through the mountains.  I chose this picture as an example of bottom up and top down visual processing because they’re many great examples to point out.  As soon as I look at the picture my brain begins to find patterns and make ideas happen so that I can further understand what is happening in the picture.  Because I have so much experience with cars I already have background knowledge helping me out in interpreting what is happening here.  I see the Porsche with the unique fin and streamline design and assume that “speed” is what the car is built for.  I see the curvy road all around the car that leads me to believe he is on a long drive through the mountains as there is nothing else around but trees and cliffs.  To confirm all of these assumptions I look at the wheels and see that they’re smoking and spinning, these are all signs of a serious sports car on a windy mountain road doing what it does best.

            When I have started the top down processing my eyes go directly to where the road is going to see what the cars next move will be.  I am interpreting the road and all of the other obstacles around, including rough roads, guardrails and water on the surface of the road.  I also look at the road behind the car to get an idea of where this Porsche has been and to get an idea of how fast the car is moving now and how fast it could have been moving before the turn.

Citation: http://images.pistonheads.com/nimg/21533/PorscheGT3_oppo_wide.jpg