Unemployment:
Dark
Dusty
Sad / Dismal
Waiting
Desolate
Lines
Diagonal Shadows


In this image, there are men in suits and hats, possibly from the 1920s, waiting in two lines at a window counter. The image is shot in black and white, and the sun is shining at the 10 o'clock position. The floor is marble and there is a man standing towards the back of one line staring into the camera. The cameras position is at a 3/4ths top view above where the counter is located. Other than the man staring into the camera, it is impossible to see the other men's faces or expressions due to their hats. Also, none of the people in the picture are talking to one another and look to be solemnly waiting in line.

2011 Porsche 911 GT3 (997)

Representational Level:
The 911 chassis from Porsche has every aspect of what the public sees as a sports car. It has a low and wide stance, and has many materials that are of high quality, giving off justification for its high price. The car has maintained a certain prestige in the automotive world as a competitor in both technological advancements as well as overall driveability. The viewer can automatically tell the car is a Porsche due to its shape and sound, as well as the way that it drives. The representational aspect of the design of the car influences both the abstract and symbolic forms of the Porsche. Not only does the representational form of the 911 chassis act as a symbolic representation of the company as a whole, but the fact that the car is so signature to Porsche almost forces abstraction to take place with every reiteration of the car.

Abstract Level:
As stated earlier, I believe that because the 911 is such a clear representation of Porsche, that the designers are always coming up with new ideas and utilizing abstraction as a form of art with every new reiteration of the car. If the viewer takes a glance at the car, they will notice that the shape is very abstract and different from any other cars on the road. The viewer will also notice the various vents and diffusers that are utilized for aerodynamic efficiency, but that also are not very common on road cars. The shape stimulates the notions of speed and handling, due to the overall stance of the 911 and the aggressive styling. The role of abstraction justifies the notion of the 911 being Porsche's flagship vehicle. The new ideas and inventive notions that come forth with every new 911 seem to solidify its place in automotive history.

Symbolic Level:
The shape of the Porsche 911 has not changed since its conception in the 1970s. Thus, the mere look of the car is symbolic of Porsche and its heritage. With every new model that comes out, Porsche always pushes the car as their visually symbolic representation of the company and its ingenuity with technology, skill, and craftsmanship. This symbolic representation that the 911 delivers impacts the viewer because although the car looks similar to other 911s, the viewer can tell the model year of the car based on little nuances that reflect that time era. The viewer knows that the car they are looking at is a symbol of Porsche's influence on the automotive world and that the car carries a prestige as a direct symbol of the manufacturer. This symbolism directly affects both representation and abstraction of the car. Because the car is such a symbol of Porsche's ideas and notions, both representation and abstraction with every new model are taken into great consideration because all three visual aspects of the Porsche 911 are developed to spoil the senses. This belief that Porsche may have developed the "best" road car in automotive history is a reflection upon the 911s incredible representational, abstract, and symbolic levels of visual design communication with customers and enthusiasts all over the world.

Week 2 Homework

Representational Level:This digital design photo of an SF Muni train is representational of both SF Muni and the overall presence of public municipal transportation that is available in San Francisco. The train in the photo can be representational of any of the various train cars that run around the city and also displays the many numerous people that can utilize the train for transportation. This photo is representational because it is easily recognized due to experience and environment of those that live in San Francisco. Although this is not an actual photo of the trains that are present in San Francisco, this conceptual digital picture can be categorized as a form of designed visual information. This picture also relates to the viewers visual perception of the street cars, the busy SF streets, the bus stops, and the traffic; clearly representing the presence of SF Muni in San Francisco. This picture should be clear to anyone that attends SFSU that it is representational of the trains and trolleys that help usher numerous people around the city as a form of public transportation.

Abstract Level:
This is an abstract piece of artwork that is on display at the Suzuka International Racing Course in Ino, Japan. It is basically a rendition of the track layout, fabricated in titanium piping that has been bent and heat treated for a burnt titanium finish. This abstract design is based off of a representation of the physical track and is derived from the turns and twists of the overhead layout that is commonly utilized by drivers and fans to denote the track and how the circuit is laid out. This artwork communicates to the viewer because not only is it an abstract representation of the racing circuit, but it incorporates different types of material and manufacturing processes to visually complement those who are amongst its presence. Since this art is on display at an international race track, many of those in attendance would be avid racing fans. Titanium plays a huge role in the world of automotive racing as it is utilized throughout the profession as a material that is lightweight, yet strong. The burnt titanium finish is also representative of the beauty that can commonly be seen on race cars (exhaust manifolds, piping, heat shields, ducting, etc.).

Symbolic Level:

The Yin Yang represents a clear example of a symbolic visual message that can be interpreted all around the world. This symbol denotes the notion of balance and reciprocation and of how these two ideals can help a person to maintain stability in their lives. The two portions of the symbol represent Yin and Yang, two opposing forces that, according to Chinese culture, can only exist with the other. The shape of the symbol is rounded, representing the belief that in order for one force to rise, the other must fall, and so forth, in a recirculating pattern. The dot at the head of both sections are representative of the idea that both Yin and Yang can also coexist within one another. The overall design of the Yin Yang shows balance and everlasting reciprocation in its flowing characteristics and contrasting, but equal, colored sections.

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