Week 3 Reading: From style in the visual Arts
One of the most significant ways of distinguishing and classifying types of design is in terms of the sense or senses primarily adressed, e.g. as visual, auditory or audiovisual. These types of design will be explored and explained further on, based on Thomas Munro's study.
The first one we are introduced with is Visual, Static, Surface Design, which is mostly presented in two dimensional space, with a flat, curving or even polyhedral surface. It's usual elements are line, color and texture which may sometimes have slight variations of surface, shape, mass and void shape.
There are three main subdivisions distinguished from this design.
Strip Design is mostly extended in one dimension lengthwise and is developed through addition or division of units. Design variations can appear through it's dimensions, be them flat or slightly three dimensional. Munro emphasizes that a design which is actually and preventatively flat may be suggestively three dimensional, giving illusions of solidity and depth.
The second subdivision mentioned in the study is Bounded- area Design. It is limited within a two dimensional area which may vary from rectangular to a circular frame or border. Nonetheless, designs of the bounded area type may be presentatively flat or three dimensional with examples such as painting and sculpture respectively. It is of importance to remember that the relation of the design to representation is especially important. Thus we learn that a thematic framework provides for a arbitrarily arrangement of units, be them both representational or nonrepresentational, creating a pattern. Such examples include utilitarian objects such as buildings, chairs, robes etc.
The third subdivision is Allover design which is unbounded in two dimensions with a tendency of indefinite repetition in 2D and four directions. The proliferation of a design tends to flow from one side to another of the object, ignoring its edges and corners. Thus an Allover design can completely cover a solid object, e.g. a vase or metal figure, treating the surface as if it were flat. A common feature of this design is to arrange the units on two coordinate, intersecting system of lines. It is widely used in dress fabrics, drapery, wallpaper etc, with conventional types of spot, stripe, scale etc.
Secondly we move on to another design named Visual, Static, Solid Design. This type is presented in three dimensions with considerable extent in thickness or depth as well as in length and breadth. Its thematic units consist of different solid parts, while the temporal order is not definitely determined. Thomas Munro extends this design into four other subdivisions.
The first one being Exterior Design, as in Architecture; When viewed from the outside. This subdivision may present a variety of designs, where from different points of views as opaque, solid parts fall into different arrangements through parallax, overlapping and partial concealment by other opaque parts. Examples of 3D design, vases (body, neck, mouth), weapons, flower arrangements, might permit indeterminate or slightly determined motion.
Further on, the author more briefly explains Interior Design ( Surrounding or partly surrounding the observer), Combinations ( the connection between exterior and interior as better explained through the park surrounding the castle example) and the Intermediate between Surface and Solid Design which is sculptural relief ( Varies as to the amount of 3D development).
The third type of design we observe is the Visual, Mobile, Temporally developed Design with its two main subdivisions.
Mobile Surface design is visually presented in two dimensions. It includes motion, pictures etc, all presented as flat images on a flat or curving surface. Chinese and Japanese pictorial hand scrolls, which are unrolled so as to bring continuously changing pictures to view, are a great example, thus some mobility is characteristic of its conception.
Mobile Solid design is represented through actually solid figures in more or less determinate motion, developed in 3 dimensions of space and in time. Dance would work as and appropriate example of such design, though not all examples are highly developed thematically. Space is indeterminate in this type of design.
The fourth kind we are presented with by the author is Auditory Design, which is presented in more or less determinate temporal sequence but lacks much spatial development.
Musical design is a subdivision of Auditory Design, with a thematic development of rhythm, pitch, timbre etc, and components such as melody, tempo, meter, dynamics, chord structure, progression and orchestration. It can be represented through instruments and human voice.
Another subdivision is the Word Sound design, which is a literary design, presented when literature is spoken and thus resembles music to some extent. It differs from different languages.
The last subdivision is Verbal - Musical design. It is a combination of musical and word- sound themes and patterns as in song, oratorio and opera.
The fifth type of design we get to study on this article is Audiovisual Design, which is divided into Audiovisual Surface design ( of mobile visual patterns combined with music, word - sound or both), and Audiovisual Solid design ( is produced by combining solid patterns with auditory ones as in dance and ballet with music).
Lastly we encounter the sixth type of design as according to Munro's study, which is Designs based on Suggestive Thematic Development. The foregoing list here distinguishes types of design on basis of presentative development, according to the sense primarily addressed and the way in which the presented factor is developed in space, time or both.
The first one we are introduced with is Visual, Static, Surface Design, which is mostly presented in two dimensional space, with a flat, curving or even polyhedral surface. It's usual elements are line, color and texture which may sometimes have slight variations of surface, shape, mass and void shape.
There are three main subdivisions distinguished from this design.
Strip Design is mostly extended in one dimension lengthwise and is developed through addition or division of units. Design variations can appear through it's dimensions, be them flat or slightly three dimensional. Munro emphasizes that a design which is actually and preventatively flat may be suggestively three dimensional, giving illusions of solidity and depth.
The second subdivision mentioned in the study is Bounded- area Design. It is limited within a two dimensional area which may vary from rectangular to a circular frame or border. Nonetheless, designs of the bounded area type may be presentatively flat or three dimensional with examples such as painting and sculpture respectively. It is of importance to remember that the relation of the design to representation is especially important. Thus we learn that a thematic framework provides for a arbitrarily arrangement of units, be them both representational or nonrepresentational, creating a pattern. Such examples include utilitarian objects such as buildings, chairs, robes etc.
The third subdivision is Allover design which is unbounded in two dimensions with a tendency of indefinite repetition in 2D and four directions. The proliferation of a design tends to flow from one side to another of the object, ignoring its edges and corners. Thus an Allover design can completely cover a solid object, e.g. a vase or metal figure, treating the surface as if it were flat. A common feature of this design is to arrange the units on two coordinate, intersecting system of lines. It is widely used in dress fabrics, drapery, wallpaper etc, with conventional types of spot, stripe, scale etc.
Secondly we move on to another design named Visual, Static, Solid Design. This type is presented in three dimensions with considerable extent in thickness or depth as well as in length and breadth. Its thematic units consist of different solid parts, while the temporal order is not definitely determined. Thomas Munro extends this design into four other subdivisions.
The first one being Exterior Design, as in Architecture; When viewed from the outside. This subdivision may present a variety of designs, where from different points of views as opaque, solid parts fall into different arrangements through parallax, overlapping and partial concealment by other opaque parts. Examples of 3D design, vases (body, neck, mouth), weapons, flower arrangements, might permit indeterminate or slightly determined motion.
Further on, the author more briefly explains Interior Design ( Surrounding or partly surrounding the observer), Combinations ( the connection between exterior and interior as better explained through the park surrounding the castle example) and the Intermediate between Surface and Solid Design which is sculptural relief ( Varies as to the amount of 3D development).
The third type of design we observe is the Visual, Mobile, Temporally developed Design with its two main subdivisions.
Mobile Surface design is visually presented in two dimensions. It includes motion, pictures etc, all presented as flat images on a flat or curving surface. Chinese and Japanese pictorial hand scrolls, which are unrolled so as to bring continuously changing pictures to view, are a great example, thus some mobility is characteristic of its conception.
Mobile Solid design is represented through actually solid figures in more or less determinate motion, developed in 3 dimensions of space and in time. Dance would work as and appropriate example of such design, though not all examples are highly developed thematically. Space is indeterminate in this type of design.
The fourth kind we are presented with by the author is Auditory Design, which is presented in more or less determinate temporal sequence but lacks much spatial development.
Musical design is a subdivision of Auditory Design, with a thematic development of rhythm, pitch, timbre etc, and components such as melody, tempo, meter, dynamics, chord structure, progression and orchestration. It can be represented through instruments and human voice.
Another subdivision is the Word Sound design, which is a literary design, presented when literature is spoken and thus resembles music to some extent. It differs from different languages.
The last subdivision is Verbal - Musical design. It is a combination of musical and word- sound themes and patterns as in song, oratorio and opera.
The fifth type of design we get to study on this article is Audiovisual Design, which is divided into Audiovisual Surface design ( of mobile visual patterns combined with music, word - sound or both), and Audiovisual Solid design ( is produced by combining solid patterns with auditory ones as in dance and ballet with music).
Lastly we encounter the sixth type of design as according to Munro's study, which is Designs based on Suggestive Thematic Development. The foregoing list here distinguishes types of design on basis of presentative development, according to the sense primarily addressed and the way in which the presented factor is developed in space, time or both.
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