Author: ntcorn

The first chapter of Sturken & Cartwright’s “Practices of Looking” is titled “Images, Power, and Politics,” where the authors argue that visual culture is deeply intertwined with issues of power and politics. Visual culture is somewhat of a tug-of-war between different groups competing for control over certain images. The authors state that “the power of images is derived both from the shared meanings they generate across locations and the particular meanings they hold in a given place or culture.” 

They use photographer Weegee’s work to illustrate the ways images can be used to reinforce dominant narratives and ideologies. Weegee’s photographs were not just objective records of reality. His subjective choices created carefully crafted images that worked as documentation, but also showed insight into his beliefs and cultural biases. One of their biggest arguments is that images are both documents as well as powerful symbols, full of meaning. They not only document a moment in time, but more importantly, reflect the ideologies and social climate of the time. 

This made me think of Dorthea Lange’s image of the “Migrant Mother,” which became a powerful symbol of the great depression and the hunger and hopelessness it brought with it, and reflects the social climate of the time.

Sturken & Cartwright discuss how images are powerful enough to spark political action. The photograph of Emmet Till, mutilated in a casket, became a powerful cry for public and political action. Things like violence or innocence are strong visual symbols that people relate to on an innate, subconscious level. 

They discuss how photojournalism is vastly different than it was 75 years ago. With the majority of people carrying a camera on their person at all times, and the rise of social media, photojournalism can be mass circulated in an instant. This shifts more power into more people’s hands. 

I found the section titled “Representation” interesting. The authors define representation in terms of visual culture. Representation helps us to analyze and understand an image, taking into consideration the context. The still life painting by de la Porte at face-value just looks like a table with some fruit on it, but looking deeper and taking the context into consideration, is a symbolic representation of peasant life. The example of Rene Magritte’s painting “This Is Not A Pipe” helps to illustrate the idea that representations aren’t always true to the things they’re representing. Representations are shaped by social and cultural norms and beliefs and help us look past the literal. Sturken and Cartwright point out that images can be both informative and expressive, working as both allegories and documentation. 

The section titled “Vision and Visuality” discusses the distinction between vision and visuality in terms of visual culture. The authors define vision as the physical capacity to see, but visuality as the way vision is shaped through social context and interaction. Different social groups have different ways of interpreting visual images, and these ways of seeing are shaped by their positions of power or social class. I found the example of the large photograph of the child killed in a drone attack extremely powerful because of the child’s  innocent face. This photo was able to draw attention to the inhumanity behind drone attacks and delivers a powerful political message.

The last section titled “The Myth of Photographic Truth” questions whether photographs are objective or subjective documents. The authors argue that they’re not truly objective, citing the ease of altering images as the main reason. Programs like Photoshop, and now AI, can create false, realistic-looking images in no time. I just read Samsung explains its ‘fake’ Moon photos yesterday about Samsung’s “fake” moon photos. Samsung is using AI called “Scene Optimizer” to add details to images taken of the moon that weren’t actually there, which is being publicly criticized. It really calls to question if we should take photographs as real evidence or truth. Maybe software that digitally alters photographs should embed a digital watermark in the image, describing how the photo was altered. 

The concepts from this reading can help web developers and designers create websites that are visually compelling, as well as culturally sensitive, inclusive, and equitable. These ideas about images and visual culture will shape a lot of my future decisions as a web developer. Web designers can use the power of images to create engaging sites, but need to be aware of the potential for images to reinforce dominant narratives. By being conscious of the images we use and how we use them, web designers can help make the web more inclusive and equitable. 

In Chapter 1 of The Non-Designer’s Design Book, author Robin Williams discusses the four basic principles of design: contrast, repetition, alignment, and proximity. Contrast in graphic design occurs when visual elements placed close together noticeably differ from each other. When designing content, you should avoid elements in a design that are merely similar, and try to make elements different and visually attractive. Repetition is just talking about repeating visual elements, such as colors, shapes, or styles.  This helps create a nice flow to the design, making the design more organized and pleasing to the eye. It also creates consistency and unity throughout the design. Alignment just means everything on the page has a visual connection with everything else on the page. This helps maintain a polished aesthetic, which is more satisfying for viewers. Proximity just means elements in a design that relate to one another should be sectioned together.  When I think of proximity in design, my mind jumps to well-designed websites. Typically, websites are sectioned out where categorizable content is grouped together.  When items are grouped together, they become one visual unit, which helps reduce clutter and give the design a clear structure. 

In the article, “Logo Design Theory, Part 1: Symbols, Metaphors And The Power Of Intuition,” author Maggie Macnab discusses the importance of symbols, metaphors, and intuition when creating effective design. She argues that many designers incorporate universal symbols and metaphors in their works because it “feels right.” This is intuition, which guides designers towards solutions that align with some kind of universal knowing. Using a universal symbol in a logo design can have the broadest communication reach and can help a logo stand out and stay memorable.  She claims that intuition helps designers when problem-solving, but intellect helps to execute and deliver a finished product. Metaphors and symbols help reach and hold an audience’s attention for longer, as well as assist with recognition. 

Macnab claims that symbols are archetypes of human connection, which makes total sense. As humans, we try to create relationships with things that are familiar to us. The more universal an idea is, the more communicative reach it will have. 

There are two differing kinds of logos: letterform and symbol. Using symbolism rather than just text in a logo condenses and simplifies the logo’s communication, making it easier for people to understand. Symbolism is more obvious and blunt than using metaphors, however. Metaphors take a stretch of the imagination for some people to realize or comprehend. Symbols and metaphors may be a little different, but they’re both considered universal symbols that will stand the test of time. 

I found several of Macnab’s tips at the bottom of this article especially helpful. I thought the idea of designing in black and white was interesting, and liked the explanation of why. It makes sense to design the logo where it could be embossed just as easily as it could be printed.  The concept of designing in black and white also helps reinforce the idea of contrast in the form of empty space juxtaposing the filled space, while maintaining balance. 

I found Macnab’s article, “How Geometry Influences Logo Design,” to be informative and helpful when it comes to design. It’s crazy to think that simple shapes make up the fundamental geometry of the universe. This concept takes me back to drawing class. We began the class by discussing basic shapes and the fact that just about anything could be created with just some shapes. It blew my mind then, and it still does to this day. Macnab discusses lines, circles, triangles, squares, and spirals and stars in the context of logo design. She claims that a designer’s understanding of basic shapes and how they work can give subtle and substantial reinforcements to a logo’s message when applied. I thought her explanation of the basic shapes and their degrees of freedom, as well as the symbolism associated with each basic shape to be enlightening. Utilizing geometry is efficient during the logo creation process. When done right, it can speak volumes to the design’s target audience. 

When I thought about what document I should use to apply the knowledge gained from the readings and instruction, my mind jumped straight to Adobe’s homepage. They create all my favorite design software, and I thought their site would be a good sample to analyze for the four basic principles of design. Adobe’s homepage is a good example of how contrast, repetition, alignment, and proximity can be used effectively to make a visually satisfying document.

Their website makes use of contrast between text and background colors, making it easy to read and navigate.

The site also includes intentional white space, allowing elements to stand out from one another.

Repetition of design elements, such as the consistent use of typography throughout the site, helps create a cohesive look and feel. Certain elements, such as the drop-down arrows in the navigation bar or the style of buttons on the page are repeated to maintain unity throughout the site.

Adobe’s site is a great example of alignment because the blocks of content are aligned with one another and have nice, even white space and margins. The alignment of their homepage allows their content to breathe, creating a clean and organized layout, which is visually satisfying for viewers. When it comes to proximity, Adobe chose to group related content together, making it easy for users to find the information they need.

For example, in the navigation bar, items grouped together are placed under the same tab, making it easy for a user to find what they’re looking for.

Adobe uses these four principles of design to create a visually beautiful webpage that is effective, engaging, and easy to navigate. 

How will you use the concepts of contrast, repetition, alignment, and proximity when creating your future designs? What does embracing the power of intuitive design look like for you?