1. Civilization is the making of a world by man. CREATING A MAN-MADE ORDER THE MAKING OF SIGN AND SPACE SIGN = Written word SPACE= architecture includes painting, artifacts etc. Creation of manmade space and written language mark the beginning of a new era in human history. Civilization is the making of a world by man. But this world is not created without or separate from the world that exists. The existing world and its phenomenon are the material which is shaped by human effort.

3. Social value of Design Invention & Innovation Design is basic to all human activity A problem solving activity Challenge to standards Overcoming limitations & Blocks

4. Understanding Visuals Gestalt. Semeiotics. Perception & limitations : Culture, Religion Gender, Age Art & Craft Craft accepted as Art. Antiques:. Historical Significance. Providence Anonymity: Crafts. Folk Art Low Art & High Art. What is Art. European & Non-European Art. Islamic Art Industrialization. New connoisseurs. Artist as genius. Originality; Urinal & Dadaism. Human Agency. Interactive, Installations. Public Art Sanction & Context: Prices, Curators, Museums, Auctioneers & Theory How/Why do we relate to Art? From caves to galleries. Art seeks Idealized Beauty & Proportions. Changing perspectives. Technology Raas: Empathy. Challenge. Changing Language of Art. Role of Art/Artist. Kitsch Art.

5. Limits in Communication Biological: Perception, the visual human ability Cultural: Social Context, Art and design traditions Moral: Ethical standards, universal principles of right

6. Semiotics or Semiology The study of signs and sign-using behavior. Defined a sign as “something which stands to somebody for something,” and one of his major contributions to semiotics was the categorization of signs into three main types: (1) an icon, which resembles its referent (such as a road sign for falling rocks); (2) an index, which is associated with its referent (as smoke is a sign of fire); and (3) a symbol, which is related to its referent only by convention (as with words or traffic signals). A sign can never have a definite meaning, for the meaning must be continuously qualified.

7. The Sign The signifier + the signified = the sign. But the relationship between the signifier and the signified is ARBITRARY, and dependent upon a shared code.

8. All of these principles of perceptual organization serve the overarching principle of pragnänz (German for conciseness), which is that the simplest and most stable interpretations are favored. What the Gestalt principles of perceptual organization suggest is that we may be predisposed towards interpreting ambiguous images in one way rather than another by universal principles. We may accept such a proposition at the same time as accepting that such predispositions may also be generated by other factors. Similarly, we may accept the Gestalt principles whilst at the same time regarding other aspects of perception as being learned and culturally variable rather than innate. The Gestalt principles can be seen as reinforcing the notion that the world is not simply and objectively 'out there' but is constructed in the process of perception. Gestalt Laws of Perceptual Organization?

10. “Forms or images of a collective nature which occur practically all over the earth as constituents of myths and at the same time as individual products of unconscious origin” Archetypes

11. Color theory has not developed an explicit explanation of how specific media affect color appearance: colors have always been defined in the abstract, and whether the colors were inks or paints, oils or watercolors, transparencies or reflecting prints, computer displays or movie theaters, The nature of light and visual perception.

12. Emission theory Rays emanate from the eyes and are intercepted by visual objects Intro-mission Something entering the eyes representative of the object "internal fire" which interacted with the "external fire" Leonardo da Vinci (1452–1519) The first to recognize the special optical qualities of the eye Alhazan ( - 1040) Carried out many investigations and experiments on visual perception Goethe's color wheel from his 1810 Theory of Colors

13. "The human being himself, to the extent that he makes sound use of his senses, is the most exact physical apparatus that can exist.“ "the highest is to understand that all fact is really theory. The blue of the sky reveals to us the basic law of color. Search nothing beyond the phenomena, they themselves are the theory." Goethe's concern was not so much with the analytic measurement of color phenomenon, as with the qualities of how phenomena are perceived. Science has come to understand the distinction between the optical spectrum, as observed by Newton, and the phenomenon of human color perception as presented by Goethe Goethe's Theory of Colors

14. Goethe's color wheel -Theory of Colors When the eye sees a color it is immediately excited and it is its nature, spontaneously and of necessity, at once to produce another, which with the original color, comprehends the whole chromatic scale. — Goethe, Theory of Colors 1810

15. Color Systems CMYK Subtractive Color. When we mix colors using paint, or through the printing process, we are using the subtractive color method. Subtractive color mixing means that one begins with white and ends with black; as one adds color, the result gets darker and tends to black. RGB Additive Color. If we are working on a computer, the colors we see on the screen are created with light using the additive color method. Additive color mixing begins with black and ends with white; as more color is added, the result is lighter and tends to white.

18. Prokudin-Gorsky, 1863-1944 Russian photographer, used the color filter technique to make color images Prokudin-Gorsky's own research yielded patents for producing color film slides and for projecting color motion pictures. His process used a camera that took a series of three monochrome pictures in sequence, each through a different-colored filter. By projecting all three monochrome pictures using correctly colored light, it was possible to reconstruct the original color scene

19. Color Light reflected off objects. Color has three main characteristics: hue (red, green, blue, etc.) value (how light or dark it is) and intensity (how bright or dull it is). Colors can be described as warm (red, yellow) or cool (blue, gray), depending on which end of the color spectrum they fall. Value describes the brightness of color. Artists use color value to create different moods. Dark colors in a composition suggest a lack of light, as in a night or interior scene. Dark colors can often convey a sense of mystery or foreboding. Intensity describes the purity or strength of a color. Bright colors are undiluted and are often associated with positive energy and heightened emotions. Dull colors have been diluted by mixing with other colors and create a sedate or serious mood.

20. Chromatic colors Hue, Value & Intensity Warm & Cool colors Complimentary colors Anchromatic colors

21. Photography is the result of combining several technical discoveries. Long before the first photographs were made, Chinese philosopher Mo Ti described a pinhole camera in the 5th century B.C.E. Ibn al-Haytham (Alhazen) (965–1040) studied the camera aobscura and pinhole camera. Albertus Magnus (1193–1280) discovered silver nitrate, and Georges Fabricius (1516–1571) discovered silver chloride. Daniel Barbaro described a diaphragm in 1568. Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694.

22. The coming of the camera 1839 – Color Photos 1855 Digital age 1982 Within 30 years of its invention photography was being used for police filing, war reporting, military reconnaissance, pornography, encyclopedic records, sentimental moralizing, inquisitive probing, news reporting and formal portraiture…. paraphrased from John Berger’s essay on photography. Camera as the most honest witness, As used by the Depression era photographers in America Nazi use of the medium for propaganda Use in advertising…the seduction of the real….pictures as life

23. The system was based on the discovery Clerk Maxwell and separated the colors magenta, cyan and yellow. The latest digital cameras, inclusive, are using this separation method to capture the light of exposure. First colored photographic image made in Kings University College In color photography with film cameras light-sensitive chemicals or electronic sensors record color information at the time The three-color method, which is the foundation of virtually all practical color processes whether chemical or electronic, was first suggested in an 1855 paper on color vision by Scottish physicist James Clerk Maxwell.

24. Age of Photography 1839-1982 Digital age 1981 GUI Graphic User Interface ( Gooey) uses pictures rather than just words to represent the input and output of a program. The GUI allows a user to control a program via use of icons, buttons and pointers. Birth of Macintosh Apple in 1983 GUIs can be used in computers, hand-held devices such as MP3 players, portable media players or gaming devices, household appliances, office, and industry equipment WYSIWYG What you see is what you get, the content appears very similar to the end product.

25. Power of the photographic image In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. To photograph is to appropriate the thing photographed Photographs furnish evidence. Painting never had so imperial a scope A way of certifying experience, taking photographs is also a way of refusing it. Susan Sontag The propensity of the human brain to interpret visual information in certain preferred order allows for a range of visual illusions to be created by graphic designers, artists, architects etc.

26. Test for authenticity How to ensure a modicum of truth 1.This really happened; 2. This happened independent of the photographer; 3. This scene is representative. Digital capturing of Images Manipulation of images Sharing of Images Radical aspects of the digital image

27. The Major Purpose of Advertising is to arouse the consumers desire to own any given product. Advertising photography is used to stimulate these desires to an act and purchase. The advertising photographer must illustrate, explain, excite, and help create this desire for any given advertised product.

28. Use in propaganda Propaganda “The systematic dissemination of information, esp. in a biased or misleading way, in order to promote a political cause or point of view” or “information disseminated in this way”

29. Photographs can easily be used for propaganda,( think Nazi Germany) for manipulating perceptions and authenticating claims. Unlike artisanal images photographs seduce us by mimetic record of events and objects ( think advertising commercials). Critical viewing involves revealing the process of making photo images. Propaganda “the systematic dissemination of information, esp. in a biased or misleading way, in order to promote a political cause or point of view” or “information disseminated in this way” Advertising The major purpose of advertising is to arouse the consumers desire to own any given product. Advertising photography is used to stimulate these desires to an act and purchase. The advertising photographer illustrate, explain, excite, and help create this desire for any given advertised product.

30. Ansel Adam’s advice is still of crucial importance because the digital camera can be programmed to record, edit and compose and the post processing can endlessly manipulate the original image but it is the ability to ’see’ that overrides everything. I cannot overemphasize the importance of continuous practice in visualization, both in terms of image values ……and image management……we must learn to see intuitively as lens/camera sees…. Ansel Adams Photographing the world The Window and the Mirror "mirrors"—pictures that mean to describe the photographer's own sensibility—and "windows"—realist photos including the facts of photography as a process and system. Given that the most pervasive and functional use of the medium is to document and record images this polarity defines the spectrum of aesthetic expression of photography as an image making medium.

31. Real Life "The camera is an instrument that teaches people how to see without a camera." ~ Dorothea Lange ~~~~~~~~~~~~~~~~~~~~~ "Photography is nothing - it's life that interests me." ~ Henri Cartier- Bresson ~~~~~~~~~~~~~~~~~~~~~ "Photos always seem to exist as sort of stuffy, unnecessary antiques that we put in a drawer — unless we take them out, put them in current dialogue, and give them relevance." ~ Mark Klett ~~~~~~~~~~~~~~~~~~~~~ "The job of the photographer, in my view, is not to catalogue indisputable fact but to try to be coherent about intuition and hope. This is not to say that he is unconcerned with the truth." ~ Robert Adams ~~~~~~~~~~~~~~~~~~~~~ "Light, then,.... is indeed a wonderful instrument..." ~ Mark Rothko

32. Rule of thirds

33. The theory is that if you place points of interest in the intersections or along the lines that your photo becomes more balanced and will enable a viewer of the image to interact with it more naturally. Studies have shown that when viewing images that people’s eyes usually go to one of the intersection points most naturally rather than the center of the shot – using the rule of thirds works with this natural way of viewing an image rather than working against it. Rule of thirds Darren Rowse

34. Beauty = Proportion Greek & Indian Ideal figure

35. PROPORTION The Golden Section The beauty of the golden section may be indicated by the fact that a golden section rectangle subdivides into a square and another, smaller golden section rectangle. This process can be continued ad infinitum, and similarly inversed by adding a square over the longer side of a golden section rectangle, thus establishing a proportional relationship over the entire imaginable scale of human artifacts.

36. The divine section Most spirals & Forms in nature like Bamboo, leaves, seashells and even DNA are in the same proportion as the golden section.

37. surréalisme (from sur- "beyond" +réalisme "realism") A style of art and literature developed principally in the 20th century, stressing the subconscious or non rational significance of imagery arrived at by automatism or the exploitation of chance effects, unexpected juxtapositions, etc.

38. Proportion Changing Perceptions Idea of Beauty Human body & Geometry. Surface design. Circles, lines, making & measuring, social & ideal Portrayal of women in paintings

39. Modernity in Art Industrialization in Europe A major technological, socioeconomic and cultural change in the late 18th and early 19th century that began in Britain and spread throughout the world. It created an increasingly literate and dominant middle class which began to assert and assume power in society. The dissolution of courtly culture, the tendency towards the monumental, the ceremonious and the solemn disappears in favor of the more intimate and delicate. Expressionism in place of decoration,

40. Basing one's beliefs on observations rather than upon religious teaching. Truth and morality is sought through human investigation; as such, views on morals can change when new knowledge and information is discovered.

41. Universal way of describing visual form…. Asymmetry, simplicity, photomontage, geometry were all parts of the new "look" of Modernism. It was evident in graphic design, architecture, art, and crafts, as well as other media such as music and theater. Universal significance of forms……shun the historical and culturally specific nature of visual design.

42. Islamic and Indian influence on visual culture of Christian Europe Ornamentation which was free of direct religious imagery was easily used for many Church related designs Shrouds of silk from Muslim world Carpets & Pottery Even Pseudo-Kufic lettering as design Miniature painting’s stylized drawing, empirical perspective and flat colors.

43. The modern visual culture was the outcome of influential art movements of the early twentieth century. These in turn were directly influenced by the radical new philosophical and scientific theories of late nineteenth and early twentieth century. Most notably these four influenced artistic expression through their ideas or the popular view of their ideas. Charles Darwin Karl Marx Friedrich Nietzsche Sigmund Freud

44. What is Modern New form & content From religious toward secular; universal Away from the narrative toward abstraction Ordinary instead of royalty as subject of art Personal & subjective rather than commissioned Stress from technique to concepts ready-mades & text based works Installation / public art Modernism in art: From 1860’s to the 1970’s

45. The new universal language of visual design Photoshop as an example of the application modern analytic approach of organizing visual material into ‘menus of properties, parameters, filters and so on….’ they are universal in their description and tools of processing…..image is broken into features such as contrast, size, color, model etc. Software's such as Quark express are structural in their explorations of typography etc. Film editing & Sound manipulation. AutoCAD etc. bring the same to the mapping of three dimensional form

46. How to look at an image Plan of study 1.The image, genre, medium, size 2.Source of subject 3.Setting; location, description 4.Arrangement; composition, hierarchy 5.Centre of interest within work 6.Supreme motive; theme, artist view 7.Color; light & shade, symbolism 8.Texture 9.History; when/where/why 10.The artist; biography, influences, style

48. The primitives

49. The women of Avignon Picasso 1907 From Gaze to Peeping Traditional representation of female body 2-D, Empirical Perspective Poison Fruits, still life Masks & identity Cubist, geometric form Flat colors

50. Simplification of form Geometricize & flattened. Symbolic colors. Empirical perspective. Capturing movement. Use of figure ground relationship. Fluid content. Challenging & disturbing Cubist artwork objects are analyzed, broken up and reassembled in an abstracted form— instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.

51. Principles of Design 1.Balance 2.Contrast 3.Emphasis 4.Harmony 5.Variety 6.Unity 7.Gradation 8.Movement 9.Rhythm 10.Depth 11.Proportion

52. Elements of Design Composition Line Shape and Form Space Color Texture

53. Surrealism Freud and the study of human mind, psycho analysis & Interpretation of Dreams. Independence from visual references in the world, Logic of perspective and an attempt to reproduce an illusion of visible reality. Dreamlike atmosphere, symbolic colors & form. Sexual content. Personal, unique. Open to interpretation. Viewer as integral part of the art work Persistence of memory, Salvador Dali

54. Salvador Dali “To resolve the previously contradictory conditions of dream and reality." Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself and/or an idea/concept

55. Beside the use of dream analysis, they emphasized that "one could combine inside the same frame, elements not normally found together to produce illogical and startling effects." Breton included the idea of the startling juxtapositions in his 1924 manifesto "a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be -- the greater its emotional power and poetic reality.". [7] [7]

56. ‘ If you wish to persuade me, you must think my thoughts, feel my feelings and speak my words.’ Cicero

57. Advertising is the art of arresting the intelligence long enough to get money out of it. Stephen Leacock Modern advertising developed with the rise of mass production in the late 19th and early 20th centuries. In 2010, spending on advertising was estimated at $142.5 billion in the United States and $467 billion worldwide

58. Celebrity endorsements – using well known people to promote their product Product comparison – showing how their product is superior to another Price comparison – showing how their product is a better deal than another Selling a dream or lifestyle – showing how their product will make your dreams come true Selling with sex – showing how their product will make you popular with the opposite sex Selling sentiment - connecting their product to cherished emotions Advertising Strategies

59. "Often advertising is not about keeping up with the Joneses, but about separating you from them. That's especially true of advertising directed at a particular group, such as adolescents or young-adults -it's called 'dog- whistle' advertising because it goes out at frequencies only dogs can hear." Dr. James Twitchell Smithsonian, April 2000 "Keeping up with the Joneses" is an idiom in many parts of the English-speaking world referring to the comparison to one's neighbor as a benchmark for social caste or the accumulation of material goods. To fail to "keep up with the Joneses" is perceived as demonstrating socio- economic or cultural inferiority.

60. Metaphor experience of being in the world …. concerning space, time, moving, Image Schemas derive from the world of experience… Metaphors are comparisons that show how two things that are not alike in most ways are similar in one important way. Metaphors are a way to describe something. Authors use them to make their writing more interesting or entertaining. Functionalist to the Metaphorical statement of Lifestyle

61. Ideogram An ideogram is a character or symbol representing a complete idea without expressing the pronunciation of a particular word or words for it. Above, an ideogram demonstrates the perils of tipping a vending machine.

62. Trademarks | Brands During the Middle Ages European trade guilds began using marks to signify information about their products origin and content. The term "hallmark" comes from the identification marks that metal artisans stamped into metal when exhibiting wares in the guild hall in London

63. Logotype Technically the term logotype means a symbol comprised of only typography but it has evolved to a simple term = "logo"—a mark or symbol that identifies a company or product. The Coca-Cola symbol is a very well known example of a purely typographic logotype.

64. Pictograms A pictogram is an image that represents an object. Pictograms are useful for conveying information through a common "visual language" able to be understood regardless of one's native language or degree of literacy. So that means that anyone in the world that is familiar with the fire extinguisher should recognize the pictogram above

65. Rebus The rebus is a pictorial image that represents a spoken sound. Today the rebus is mostly used for amusement however it was a critical link in the development of the phonetic alphabet starting in Egyptian hieroglyphics

66. Otto Neurath created a symbol based language that was an alternative to written language. He rejected histograms with numerical scales, pie charts and continuous line charts for a method that displayed socio-economic facts in an easily understood form, numbers were represented by a series of identical pictorial elements or signs, each of them representing a defined quantity. While other contemporaries varied the size of their symbols, Neurath increased or reduced the quantity of symbols, each symbol representing a specific amount. ISOTYPE

67. The Design Strategy The Mood What is the general ambiance of the advertisement–the mood that is created, the feelings it stimulates? The Design What is the basic design of the advertisement? Does it use axial balance, or are the fundamental units arranged in an asymmetrical manner? What relationship exists between the pictorial aspects of the advertisement and the copy, or written material? How is spatiality used in the advertisement? Is there lots of white (blank) space, or is the advertisement crowded – full of written and graphic material? Is there a photograph used in the advertisement? If so, what kind of shot is it? What angle is it taken from? What is the lighting like? How is color used?

68. Themes What are the basic themes in the advertisement? What is the advertisement about? (For example, the plot may involve a man and a woman drinking, and the theme may be jealousy.) What product or service is being advertised? What role does it play in society and culture? What political, economic, social and cultural attitudes are reflected in the advertisement– such as alienation, sexism, conformity, anxiety, stereotyped thinking, generational conflict, obsession, elitism, loneliness, and so on? What information do you need to make sense of the advertisement? Does it allude to certain beliefs? Is it a reflection of a certain lifestyle? Does it assume information and knowledge on the part of the person looking at the ad? From Arthur Asa Berger,Seeing is believing, An introduction to visual Communication.

69. The Context and Content If there are figures in the advertisement (people, animals), what are they like? Consider factors (to the extent that you can) such as facial expressions, hairstyles and hair color, body shape and body language, clothes, age, sex, race, ethnicity, education, occupation, relationships, and so on. What does the background of the figures suggest? Where is the action taking place, and how does the background relate to this action? What is gong on in the advertisement, and what significance does this action have? Assuming that the advertisement represents part of a narrative, what can we conclude about what has let to this particular moment in time? That is, what is the plot? Signs and Symbols What symbols and signs appear in the advertisement? What role do they plan in stimulating positive feelings about or desire for the produce or service being advertised? Language and Typefaces How is language used in the advertisement? What linguistic devices provide information or generate some hoped for emotional response? Does the advertisement use metaphor? Metonymy? (A figure of speech in which one word or phrase is substituted for another with which it is closely associated (such as "crown" for "royalty") Repetition? Alliteration? (“She sells sea-shells down by the sea-shore”) Comparison and contrast? Sexual innuendo? Definitions? What typefaces are used, and what messages do these typefaces convey?

70. Question Explain the advertisement in terms of design strategy and visual vocabulary. (mood, theme, design elements, content & context, Subliminal content, Celebrity endorsement. Ethical & Cultural issues)

71. Question Explain the advertisement in terms of design strategy and visual vocabulary. (mood, theme, design elements, content & context, Subliminal content, Celebrity endorsement. Ethical & Cultural issues)

72. Question Explain the advertisement in terms of design strategy and visual vocabulary. (mood, theme, design elements, content & context, Subliminal content, Celebrity endorsement, Archetype. Ethical & Cultural issues)

73. Question Explain the advertisement in terms of design strategy and visual vocabulary. (mood, theme, design elements, content & context, Subliminal content, Celebrity endorsement, Archetype. Ethical & Cultural issues)

74. Question Explain the advertisement in terms of design strategy and visual vocabulary. (mood, theme, design elements, content & context, Subliminal content, Celebrity endorsement, Archetype. Ethical & Cultural issues)

75. Question Explain the advertisement in terms of design strategy and visual vocabulary. (mood, theme, design elements, content & context, Subliminal content, Celebrity endorsement, Archetype. Ethical & Cultural issues)

76. Idea of Unity God as Paragon of Beauty’ He is the Greatest Musawwir (Artist), (ALMusawwir is one of the names of Allah), Therefore, the sacred art of Islam is a gift from Heaven full of barakah. This art is a blessing issuing ultimately from the Divine Mercy al-Rahmah.

77. The Orient signifies a system of representations framed by political forces that brought the Orient into Western learning, Western consciousness, and Western empire. The Orient exists for the West, and is constructed by and in relation to the West. It is a mirror image of what is inferior and alien ("Other") to the West. Orientalism is "a manner of regularized (or Orientalized) writing, vision, and study, dominated by imperatives, perspectives, and ideological biases ostensibly suited to the Orient." It is the image of the 'Orient' expressed as an entire system of thought and scholarship.

78. Tradition By tradition we understand the set of beliefs and / or practices common to, and in current usage within, a specific group. From Kamil Khan ‘s article see website kamilkhanmumtaz.com Heritage Here we must make a distinction between tradition and heritage. By heritage we mean the entire legacy of culture including those aspects which may no longer be in current usage or may never have become assimilated into the popular culture. Fad and Icon Fashion- that is fads, transitory modes, and passing fancies. Icons in the cultural landscape. Informed Choice Not all manifestations of traditionalism in contemporary architecture can be written off as fad or icon. A number of buildings have been designed and constructed in recent years which are remarkable not so much for the uncritical reproduction and superficial application of traditional forms but as evidence of a search for alternative theoretical bases for contemporary architecture in Pakistan.

79. A fusion of Arabic, Central Asian and Persian elements with the local Hindu architecture Dome, Minarets, Mehrab, Pointed Arches, Water features. Marble & Sandstone

80. Mughal Features Gardens Water body, Fountains, Jalli’s Surface Decoration Calligraphy, Arabesque, Geometric Masjid Wazir Khan

81. Char Bagh One of the hallmarks of Persian gardens is the four-part garden laid out with axial paths that intersect at the garden's centre. This highly structured geometrical scheme, called the chahar bagh, became a powerful metaphor for the organization and domestication of the landscape, itself a symbol of political territory

82. Iconoclastic character of Islamic belief was chiefly responsible for the absence of human and animal form ( except occasional presence of birds etc.) from the visual design of Islamic architecture and artifacts associated with religious function e.g. Mosques, mazaars, prayer mats etc. Images representing religious personalities or images narrating actual and mythical scenes are found in almost all regional Islamic cultures. Geometric and vegetal designs are used to create an integrated totality in the an architectural edifice or an object or surface The ideal order remains the true essence of reality and all material is de- materialized by creating this beautiful shroud of decoration that derives its form and life from complex geometric order

83. The patterns of Islamic architectural surface were rooted in mathematical knowledge and influenced by Platonic philosophy of ideal forms Theory of Forms The Theory of Forms (or Theory of Ideas) typically refers to the belief that the material world as it seems to us is not the real world, but only an "image" or "copy" of the real world. In some of Plato's dialogues, this is expressed by Socrates, who spoke of forms in formulating a solution to the problem of universals. The forms, according to Socrates, are archetypes or abstract representations of the many types of things, and properties we feel and see around us, that can only be perceived by reason (Greek: λογική). (That is, they are universals.) In other words, Socrates was able to recognize two worlds: the apparent world, which constantly changes, and an unchanging and unseen world of forms, which may be the cause of what is apparent. Wikipedia

84. ASPECTS OF DECORATION Calligraphy: Because of its role in recording the word of God, calligraphy is considered one of the most important of the Islamic arts. Nearly all Islamic buildings have some type of surface inscription in the stone, stucco, marble, mosaic and/or painting. The inscription might be a verse from the Qur'an, lines of poetry, or names and dates. Like other Islamic decoration, calligraphy is closely linked to geometry. The proportions of the letters are all governed by mathematics. Inscriptions are most often used as a frame along and around main elements of a building like portals and cornices.

85. Geometry: Islamic artists developed geometric patterns to a degree of complexity and sophistication previously unknown. These patterns exemplify the Islamic interest in repetition, symmetry and continuous generation of pattern. "The superb assurance of the Islamic designers is demonstrated by their masterful integration of geometry with such optical effects as the balancing of positive and negative areas, interlacing with fluid overlapping and under passing strap work, and a skillful use of color and tone values.

86. Floral Patterns : Islamic artists reproduced nature with a great deal of accuracy. Flowers and trees might be used as the motifs for the decoration of textiles, objects and buildings. In the Mughal architectural decoration of India, artists were inspired by European botanical drawings, as well as by Persian traditional flora.

87. Light was a integral part of the design of surfaces, adding yet another dimension of life to the architectural surfaces Complex of Qala’ un Cairo, 13 th century

88. Dome of Heaven

89. What Is Good/Bad Taste? Mediated communication Given: Mainstream, Manufactured, the make belief world, Print & electronic media, film, architecture, advertising, Fashion… You are what you have. Our life can change if we buy different Anxiety about money, discontent, Fear, Inadequacy Persuasion by showing transformed people, images of alternative way of life Envy, Manufacturing Glamour Model is the god/goddess, Perfected humans Social Issues. Manipulation & Stereotyping Making Milk, Water politics, Tobacco, Soft drinks, Junk food, Medicines. Agriculture Omung is not milk but a dairy liquid. Unilever lost the case and courts restricted the company from using the word ice cream for labeling its products frozen dessert instead. Unmediated communication Acquired: Classical : Generational, Continuity, History & Heritage Sound; language, literature. Images & icons Architecture; monuments Fine Arts

90. What is ethics? Ethics is a system of morals (codes or guides of conduct (implicit or explicit) that are based on personal long-lasting beliefs and values or those of surrounding society. A personal act can be considered moral, immoral or amoral as it is inline with, against or indifferent to any moral code. Ethics in visual communication are concerned with the whole range of activities, processes and content that is disseminated through the visual medium. However, what is central to debates and of abiding socio-cultural interest is the image itself and the message it communicates. Ethics is about the 'other'

91. Good responsible design should develop tools & abilities to facilitate; 1.Teaching & Training 2.Medicine, Surgery & Hospitals 3.Sustainable Human Life Under Marginal Conditions 4.Experimental Research 5.Breakthrough Concepts

92. A Good Responsible design Mediated communication Should not encourage or portray; 1.Stereotypes 2.Lying 3.Children in inappropriate ways 4.Violence 5.Nudity 6.Women as sexual objects 7.Inappropriate social behaviors 8.Oppression 9.Cruelty towards animals 10. Discrimination on the basis of gender, color, race, nationality or religion 11. Insensitivity to ecological issues

93. Design must be informed by Ecological Social Economic & Political environment

94. Be accurate and comprehensive in the representation of subjects. Resist being manipulated by staged photo opportunities. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work. Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events. Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects. Do not pay sources or subjects or reward them materially for information or participation. Do not accept gifts, favors, or compensation from those who might seek to influence coverage. Do not intentionally sabotage the efforts of other journalists. NPPA Code of Ethics is an example of the range of the aspects of image making that can have significant social repercussions.

95. The Designer’s Responsibility to Audience Members and Users Designers must recognize the need to include audience members and users whenever possible in the process of developing effective communications and to act as an advocate for their concerns to the client. The Designer’s main concern must be to create communications that are helpful to audiences and users and that meet their needs with dignity and respect. Any communication created by a designer that intentionally misleads or confuses must be viewed as a negative reflection on the profession as a whole. Designers must not knowingly use information obtained from audience members or users in an unethical manner so as to produce communications that are unduly manipulative or harmful in their effect. Designers must advocate and thoughtfully consider the needs of all potential audiences and users, particularly those with limited abilities such as the elderly and physically challenged. Designers must recognize that their work contributes to the wellbeing of the general public, particularly in regard to health and safety and must not consciously act in a manner contradictory to this wellbeing. Designers uphold the credibility and dignity of their profession by practicing honest, candid and timely communication and by fostering the free flow of essential information in accord with the public interest. Paul Nini ( American graphic designer) at AIGA Ethical practice in visual design