Simplicity in Visual Representation: A Semiotic Approach

Simplicity, as an ideal in the design of visual representations, has not received systematic attention. High-level guidelines are too general, and low-level guidelines too ad hoc, too numerous, and too often incompatible, to serve in a particular design situation. This paper reviews notions of visual simplicity in the literature within the analytical framework provided by Charles Morris' communication model, specifically, his trichotomy of communication levels—the syntactic, the semantic, and the pragmatic. Simplicity is ultimate ly shown to entail the adjudication of incompatibilities both within, and between, levels.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/68281/2/10.1177_105065198700100103.pd

Die Hose, Phoebus Palast

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Graphische Werbekunst

Neben den Expressionismus tritt in diesen Jahren ein konstruktiv-kühler Stil, der hauptsachlich vom Bauhaus (gegründet 1919 in Weimar, seit 1925 in Dessau, geleitet von dem Architekten Walter Gropius) ausgeht. So sehr ist unser Formgefühl noch immer von daher geprägt, daß Plakate wie dieses kaum als «historisch» empfunden werden.Digital imag

Type, typography and the typographer

This chapter considers the changing role of typography and the evolving practices of the typographer across six centuries. It charts the effect of technology, trade, and training on the profession as typographic responsibility passed from printer to compositor, to designer, and finally to Everyman. This chapter also considers the changing visual appearance of typographic books and their journey to free themselves from the conventions of the manuscript book and their influence on the e‐book