Design Ideas and Principles

Control Attention In Design With Value

noreply@blogger.com (Lasertek) — Wed, 24 Jul 2013 17:26:00 +0000

To be successful as a designer it is necessary to be able to use value effectively. Value provides the maximum contrast available and is useful for controlling visibility and hence controlling attention.

Value as design element

Value refers to the relative lightness or darkness of a certain area. Value can be used for emphasis. Variations in value are used to create a focal point for the design of a picture. A light figure on a dark background is immediately recognized as the center of attention. This is also applicable for a dark figure on a mostly white background.

Value is an important tool for the designers and artists, in the way that it defines form and creates spatial illusions. Areas of light and dark can give a three-dimensional impression. This is similar to when shading areas of a person's face.

Dynamic range of Values

There are differences between how we see values in our experience and how the artist depicts those apparent values. In our world the lightest thing we are likely to experience is the sun, it is too bright to look at. The darkest would be a complete absence of light, like in a cave.

These extremes are much farther apart than the poles of value available to an artist -- white and black pigment.

To reconcile these differences requires that the designer either use one end of the value dynamic or compress the real world's value extremes into the tonal range between white and black pigment.

Using Values effectively

There are two major considerations when using value. First is the amount of contrast which controls visibility. Second is the tonal range of values used that controls mood and ambiance.

Using Value Contrast

The visibility, and hence the noticeability, of an item depends largely on how much contrast it makes with it's surroundings. Black and white are the extremes of value, the most different items can be from each other. When that extreme is used the contrast makes the item the most visible. When the contrast is lessened, the visibility is reduced so that minimum contrast produced minimum visibility

TONAL RANGE

The range of values from black to white is the tonal range available to an artist. The ability to use that range effectively lets the designer determine the mood of an image and create and control ambiance.

Skillful use of Value as a design element allows a designer to control visibility and with that attention and emphasis.

Size – What Are Its Effects In A Design?

noreply@blogger.com (Lasertek) — Wed, 10 Jul 2013 10:51:00 +0000

In design and art, shapes and lines carry different meaning and significance. Depending on how they are used, shapes and lines create a world of structure, emotion and mystery. A skilled designer may be able to manipulate balance, unity and emphasis in a design with the use of size variation and repetition.

Size in design

Size is an element of design and art that defines the relationship between the area occupied by one shape or line to that of the space occupied by the other. Size differences create interesting dynamics in a design. Putting in a large shape in a design requires an existence of a smaller one to maintain balance.

Size Variation

By varying the size of a shape or shapes in a design, a designer can control and maintain balance. Size difference greatly affects unity and emphasis. Since human eyes are instinctively drawn to the larger size, the larger and more dominant shape is emphasized. This emphasis creates tension in a design but can also be very useful in conveying scale and grandeur.

However, by exaggerating size differences tension can be overwhelming. The larger shapes will pose as a threat to the smaller shapes.This tension may be avoided by controlling size differences.

A comfortable size difference lessens the tension in a design but exaggeration of size difference may also be used to add impact into a design.The designer will be able to maintain balance or create imbalance with this technique.

Repetition

If shape size is repeated without any change, they become monotonous thus, boring. Although repetition gives motion to a design, it may create imbalance if exaggerated and may tire out the viewers eyes. Every designer wants to capture viewers with their design, not look away.However, repetition with variation can be both interesting and comfortably familiar.

Visual perception

Size affects depth and space perception. It also affects design projection toward the viewer. A simple way to add interest. Linear perspective in the real world makes things look smaller in the distance.

In a design, a large shape or object may look closer than a smaller shape or object. Relative size is a constant clue that allows you to determine how close objects are to an something of known size. This can be used to create a realistic feel in a design. Although some find realism boring, it is proven to be very useful in design.

Size is a very powerful element in design. Proper size manipulation is proven to be very effective in modern designing.

Direction: Visual Manipulation in Design and Art

noreply@blogger.com (Lasertek) — Fri, 28 Jun 2013 14:39:00 +0000

In a world where lines and shapes portray emotions as well as messages, direction holds great importance.

Visual manipulation is used to direct the audience through a design or an artwork. Making sure what mood and feel you want to set with the use of direction greatly enhances the ability of your design or artwork to capturete the eyes and the minds of your audience.

Visual manipulation with effective use of direction creates a connection from a design or artwork to the viewers.

Direction

Is about using horizontal, vertical, curved, sloped or straight lines to effectively manipulate how eyes move around the design or artwork. Direction can be used to suggest movement by the speed at which it is changed. Create balance to provide stability, imbalance to create tension.

Direction also creates emotional impact with the use of rapid changes or diagonal lines. It may help in creating anxiety or movement in action. Horizontal lines suggests calmness, stability and tranquillity while vertical lines give a feeling of balance, formality and alertness.

Also, it is greatly established that the default eye movement throughout a design or artwork (in an LTR – Left to Right – layout) is from the top left towards the bottom right

However; this can’t be far from the truth, by arranging the composition elements in a certain way. A designer or an artist can control and force the movement of the viewer’s eyes in and around the layout of the design or artwork.

For an instance, the eye will travel along an actual path such as solid or dotted line, or it will move along more subtle paths such as from large elements to little elements, from dark elements to lighter elements, from color to non-color, from unusual shapes to usual shapes, etc. Graduation of size, and repeated shapes and sizes of related elements subtly leads the eye as well.

Things to consider for effective visual manipulation

Control direction with appropriate lines and shapes. This should be a priority. Without complete control of direction, viewers may be mislead and lose interest in your creation.
Lead the eye into the design or the artwork. Never arrange the elements of your design or artwork pointing outside. Always lead the viewers into your creation to capture their interest. This is one of the top mistakes both designers and artist fall into.

The element of direction has a powerful influence on the mood of a design, but hesitating about the dominant direction in a design can have a noticeable effect on the atmosphere of the work.

Organic Shapes Versus Geometric Shapes

noreply@blogger.com (Lasertek) — Fri, 19 Apr 2013 13:18:00 +0000

Wherever we go, we see different shapes. Some of these shapes are precise and consistent, some are free-form, flowing and unpredictable. Shapes are visible yet mostly ignored.

Shapes have two different categories, organic and geometric.

Organic shapes

These are figures that have a natural and a flowing look, mostly curving in appearance. This is often referred to as curvilinear or free-form shapes, as they can be made of angles, curves or both.

Geometric shapes

These shapes are different from free-form generally because they are precise and consistent. These consist of circles, squares, spirals and triangles.

Differences

Organic shapes are not the same with geometric shapes. This is practically because they do not have measurements that are uniform and perfect, making it harder to compute measurements such as areas and volumes. A television screen, for an instance, is usually a rectangle.

Another key difference is that organic shapes are typically not man made, well except in a handful of fields. Geometric shapes, by contrast, can either be made by individuals or appear naturally.

These two may be different but there is actually one similarity. Organic and geometric can be a positive or a negative shape. A shape is positive when there are details inside its outline. A shape is negative by being empty inside its complete outline.

Shapes as used in society

With so much difference, free forms and geometric shapes can appear together, such as in art. In an attempt to create a piece that would portray peace, free form is usually the choice. When trying to create anger or maybe rigidity, geometric would be the first in mind. Some artists use a geometric image to create abstract interpretations of things that normally requires organic shapes.

People also often use organic shapes in gardening and landscaping. These types of shapes work well for this because their lack of linearity gives a more natural, blended look to the yard or garden. An even more organic look can be attained by how a landscaper designs elements like trim, ponds, and general layout, or they can get the organic feel with the specific plants they pick

Engineers also make use of free formed patterns, although the finished product might have a more geometric base to it. The ability to use irregular figures means that engineers can be much more creative and artistic even if they are solving formal problems such as how to make a building stronger.

Shapes can be simple and yet complex at the same time, either way, it is undoubtedly useful even in our daily lives.

Introducing Variety Into A Design - Enhance The Feel Of The Visual Image

noreply@blogger.com (Lasertek) — Tue, 12 Mar 2013 10:14:00 +0000

To increase interest in a visual image, variety must be added into the design. Variety is the final dash to complete the artwork.

Variety captivates viewer’s attention. Artwork that solicits so much (viewers) attention is never remiss in the elements of design. In fact, it must be blessed with the thorough application of the elements so that interest is sustained. The degree of interest is dependent on how variety in design is applied. The artwork that nearly perfected the infusion of this element gets the attention. Again, perfection is dependent on the artist’s perception. It comes with years of experience, training and understanding of the principles of design variety. Thus, no two artworks even with similar subjects will deliver the same degree of interest.

Unity and harmony in a design is still dull without variety. Through it all, artworks are products of design ideas and principles. Even with everything on it, an artwork will still not achieve the degree of interest. Unity of the subjects is important for the composition. This in effect achieves total harmony in design. However, even if the treatment is considered perfect, it will not guarantee that the effort will result in heightened interest in the design. There must be a balance in the elements and variety must be introduced to raise awareness and gain visual interest. Anything less can make an artwork monotonous, dull and uninteresting.

Add variety to heighten interest in a design. There are ways to introduce variety in a design. For instance, if the subject is about lines, variety can be had by simply thickening a thin line. Or if it is a shape, alter the size, the color, the orientation, and possibly introduce texture. There are lots of options at the artisan’s disposal. This includes varying color intensities to repeated subjects or perhaps by applying value gradients - from dark to light and even contrast. The idea is to create a deviation from what is typical and push for the opposite. It relieves monotony and raise interest to the visual image.

Variety in design is the last element. It is the last straw or the ‘final nail in the coffin’. Without variety, the artwork will never be as interesting as one hopes to be. It is necessary that the elements flawlessly jibe and belong together or chaos can result. Variety therefore can make or unmake an artwork - too much or too little will not help in any way. The artist must be able to perceive what is sufficient to raise visual awareness. Because how can an artwork communicate if it fails in the last important element.

Next time the feel of a visual image captivates, look more closely the elements of design (variety) must have been properly organized.

Repetition Heightens Visual Imagery In A Design

noreply@blogger.com (Lasertek) — Fri, 22 Feb 2013 11:29:00 +0000

Repetition is the design principle that defines the visual drama in a work of art. It brings to the composition the oomph that host viewer’s interest.

Repetition sustains visual interests. Any work of art that glues viewer’s attention surely will have all the principles of designs unifying determinants. Because how can a work of art solicit so much interest if the elements are not in place. Only the masterful application can heighten visual imagery. Repetition is only a part, but is a dominant contribution to the overall visual rendition. A work typically starts with a solitary design. As it is magnified, it delivers a stunning creation, courtesy of the interplay of shapes, lines, colors in varying gradients and intensities. Out of the perfect interaction of the elements is the vista that fans the eyes.

Repetition is the master rendition of related shapes or objects one after the other. Think of lines, shapes, geometric figures when duplicated and arranged creates a stunning sequence. This is the theory behind repetition as design ideas spring to delight viewers. A bag of nails for instance placed haphazardly over a surface is repetitive objects at work. The only difference is the nails are not in order and results in chaos. However, arrange the nails in and the result is repetition in its truest form. This basically is what must be achieved to veer away from chaotic repetition of elements.

Nature teaches us to identify and appreciate repetition in design. Nature has always stood as our sole source of inspiration. Repetition is explicitly shown in the row of trees, the layers of leaves or the group of animals. These are the vistas that we grow up and identify with. Anything that comes out different from these we identify simply as chaotic and monotonous. We had been trained early on to have personal accounts on understanding and appreciation of the element repetition. This is the reason why a work of art may be perfect and pleasing to some, but utterly disgusting to others.

There must be variation in repetitive design to create unity and harmony. Repetitive design could be monotonous if gradation is not introduced. An object repeated all over will not be as effective compared to those presented in different gradients. Gradation gives repetition the degree to be much more appreciated. This design treatment is not however limited to just increasing and decreasing the size, shape and intensities of objects. Radiating elements from a fixed point could also deliver similar degrees of gradation.

Next time a work of art mesmerizes, it means the element repetition has been heightened to produce the stunning imagery.

Design is all about patterns

noreply@blogger.com (Lasertek) — Fri, 15 Feb 2013 11:06:00 +0000

All designs are made with patterns, whether on structures and gadgets that has mesmerized people to no end. Everywhere you look, patterns emerge. Even our lives are guided by patterns.

Pattern is at the core of our existence. Just think of anything and pattern is surely distinguishable. Your finger print is an incredible pattern unique only to an individual. Archaeologists assess the past through the layers or patterns of the earth’s crust. In fact through the patterns they can speculate on what stands in the future. Statistics that people surely rely on is a huge record of patterns. Weather disturbances, cyclones, typhoons, earthquake, even the tides of the sea create patterns that warn us of impending disasters. It is actually a blue print that gauges the future.

The ability to distinguish pattern is a basic human skill. Humans are blessed with the capacity to experience and appreciate patterns. Just about anything, the pattern of the cloud suggests rain is imminent or a good day. Interpreting patterns is never taught but comes natural with humans. We can gauge whether a pattern is unique, intriguing or just about ordinary. That is why we can perceive visually if a design is truly extraordinary, although the degree of awareness is not generic to all. Some have very keen senses and appreciative of the value of a design. While others may see a similar design as drab and uninteresting.

Nature is the encyclopedia of patterns. Our perception of pattern developed through the natural phenomenon around us. Even if most of us are not as meticulous as designers, natural patterns are our source of inspiration. We can see a pattern of leaves, the rugged contusions of the bark, or perhaps heaps of sand left after a tide. Without our knowing, the natural patterns are uploaded into our senses and become storage of direct information. These are raw information that needs to be tamed through the discipline of the design ideas and principles. Any design that meets the natural aspect of things becomes entertaining.

Patterns detail the messages explicitly in a design. A masterpiece is the culmination of years in the use of patterns. To arrive at the stunning vista, designers must apply the patterns principles of design. As patterns are synchronously applied, it gives viewers the capacity to appreciate the design. Patterns in a design never vie for importance, but stay as background to raise viewer’s awareness on the most revealing focal point. Though equally important, patterns only serve as background in a design. Thus, allowing the design to clearly translate the message to the viewers.

Remember, a design is all about patterns synchronously rendered to tickle the viewer’s imagination.

Focal Point In A Design - Is Dominance At Work?

noreply@blogger.com (Lasertek) — Fri, 25 Jan 2013 10:01:00 +0000

A work of art is conceived with series of subjects, each one vying for importance. Order in the composition, is dictated to by the designer’s mastery of the element dominance.

Dominance is important. When there is total control of the element dominance, it heightens the drama surrounding the subjects in a composition. Dominance leads to the birth of a focal point in a design. The focal point directs your eye when initially looking at a design. Why your eye is drawn towards the focal point could only be the result of order. Creating the focal point is what designers aim to achieve, and possible only through the application of the element dominance. Mastery of design ideas and principles plays the catalyst to reach the crescendo. It is the end-all in a design.

Dominance is complete visual hierarchy. A composition is an idea of multiple subjects grouped together. As in all groups,there must be order or chaos can result. Similar to social order, a single aspect dominates to create order. The head of government dominates over its people, to create opportunities for all. Design similarly is like a government. Each subject is in degrees of dominance to support and not to compete. Hierarchy in design is put in place. Thus, when there is order and hierarchy among subjects a focal point results.

Visual weight in design dictates the degrees of dominance. One way to put order into a design is by assigning visual weight to each subject in a composition. This could be achieved on the: (1) order of size: (2) color: (3) density: (4) value: and (5) the whitespaces infused into a composition.

On the order of size: Larger elements will always be dominant. In a global map, China in land mass will carry more weight compared to Malaysia because of its sheer land area.

On order of color: The use of color is still shrouded in mystery. It seems that to most, red is observed as more intimidating compared to the others. Yellow is deemed to be more relaxing.

On order of density: Packing more elements into a square area will carry more weight. Dominance is more pronounced compared to the same area with lesser elements.

On order of value: On the visual perception a darker object will be more dominating compared to a lighter object of the same size.

On order of whitespaces added into a composition: White spaces are considered as negatives, while objects in a composition are positives. Darker objects carry more visual interest than whitespaces.

Contrast as well provides viewers the treat; a brick wall is more interesting than plain concrete. Not just because of the color but by the contrasting surfaces.

Remember, dominance as part of the principles of design is paramount. Dominance in design simply creates the focal point.

Hierarchy: Puts Order Into A Design

noreply@blogger.com (Lasertek) — Fri, 04 Jan 2013 11:46:00 +0000

A design composition is a clash of subjects vying for importance. Just how one manages to create harmony and avoid chaos among subjects determines the maturity of the person as a designer.

Hierarchy is evident around us. Practically in all aspects of social interaction hierarchy exists. This is the understanding that binds everything together. It is observed in humans, but is blatantly more pronounced in animal families and insect colonies. In a family, hierarchy assigns the parents as the head. The military establishment as well places the commander in chief as head in the chain of command. Governments have the President. Monarchy’s has the King. Religious organization (Catholics) has the Pope as head and so on. Chaos could result if hierarchy is not dutifully practiced. Even in design distant from the social concerns, hierarchy is also evident.

Hierarchy is elevating one subject in importance over the other. Design is the synchronous interplay of the different subjects in a composition. Much like in theater plays where there is a lead actor or actress. Less dominant players evolve around in unison to support the lead players. The same thing happens in a design, although not really very pronounced as in plays. A rendering of a foot bridge and brook for instance, both are dominant subjects. However, if the designer opts to make the brook as the focus, then the bridge plays second fiddle. The designer makes the conscious effort to project the brook, while relegating the bridge in a supporting role.

Organized hierarchy results in design harmony. Designing is complicated. It involves not only varying subjects but detailing as well. Even on only one subject, details can spoil the composition. Structures for example are built with intersecting planes. How the planes were designed to compliment each other is already hard labor. But once details are included, designing becomes even more challenging. The inclusion of door and window opening is one. If the addition is dominant, it will compete visually. The complete structure will no longer be appreciated on its own merits. Designers must therefore practice hierarchy.

Once hierarchy is achieved, the work of art communicates. The viewer’s eye coincidentally focuses on the dominant figure as explained in the above example. Total harmony on the subjects has been achieved. As the eye is trained towards the brook, the message communicates, giving the impression of the physical nature of the brook. And not noticed the bridge that could similarly be dilapidated and ready to fall. The bridge becomes only secondary in importance. That is how important hierarchy as a principle in design is in promoting one phase of a composition.

Remember, hierarchy also applies to designing. In fact, this design ideas and principles importance is tops as it puts order into the composition.

Point, Line And Plane: Why The Building Blocks Of Design

noreply@blogger.com (Lasertek) — Fri, 28 Dec 2012 10:21:00 +0000

Design is not possible without a point, a line and planes. All the three design elements constitute the building blocks of design.

Design is a merry-mix of all the design elements. How each is dutifully applied separates what is iconic from a work that is trash. However, design ideas and principles developed from the elements composed of points, lines and planes.

Points: Any great idea always starts with a point. It may be insignificant alone, but groups of it can create an artistic expression. Graphically, a point is just a dot with an x and y coordinates. Visibly a point can exist on any space on paper, but it can be the focus of a powerful presentation. A bullet for instance can pierce through a point. A laser beam projects devastating points. Nails connect pieces together on several points. Group several points together, it creates texture: series of points forms a polygon: tiny point develops into a shade of gray.
Lines: Is an expression of a point, although infinite. Make a point on paper with a pen, move it sideways you create a line. Similar to CAD (computer aided design) a line develops by extending a point. Likewise, lines have length but no breadth. Graphically lines are represented in various thicknesses: they can be bold to outline objects: or very fine as construction lines in drafting works. The visual presence of lines is possible through various thicknesses. Or theoretically, lines can be straight or curvilinear.
Plane: These are surfaces with width and height, and technically referred to as areas. It is soundly a line with width. Or a plane could be bordered by lines forming a closed polygon. Similarly a tract of land is a large plane. The boundaries are expressed in terms of lines tying all the polar points together. In structures, edifices are conceived with series of planes adjunct to each other.

Point, line and plane become the genetic blueprint in a design. Everything in design depends on the disposition of a design professional. How one manages the interplay of the three elements determines the true value of a design. The great artists of the recent past has thoroughly mastered and put to heart the importance of the three design element. Design ideas and principles will just remain a crap of words for a layman, but turns into a powerful tool at the hands of a true design guru.

Remember, it takes talent, a lot of heart and eons of experience and to really understand why point, line and plane are considered the building blocks of design.

The Feeling Of Motion: How Is It Important As A Design Element?

noreply@blogger.com (Lasertek) — Fri, 14 Dec 2012 11:18:00 +0000

Art or design is actually a concept in motion, never static but perpetually in motion. It is the whole idea in design. Capture or freeze a moment but allow movement to continue.

Movement is all there is in design. Basically art or design is just a concept created on paper. But like any creation, it is embellished with a balance of all the element of design. However, the most crucial addition is movement. A design must generate a feeling of motion to be interesting. A perfect rendering of a waterfall for instance delivers the flow of water lucidly. At the same time give viewers the feel of mist on their bare skin. Or feel the rush and danger of a train about to crash. Once viewers feel the emotion the designer crafted, movement has truly been magnified.

Create movement in your design and it becomes a perfect work of art. A design where movement is absent is like food that tastes bland. No amount of aesthetic preparation could refine the taste. Movement is the one theory in the principles of design that dictates the true inspiration of the art. It is the element that suggests life and activity within the borders of the composition. Viewers will be immersed in the rendering, that they experience realism instead of just looking at a two-dimensional creation. A perfect rendering forces the viewer’s eye to move on purpose and grasp the true intent of the design.

There are several ways to infuse movement in a design. Again, movement in design is not born an orphan. There are methods added to a design that could suggest movement.
•    Implied action: This refers to freeze frame images. A cat caught about to spring shows motion is imminent. A person in an awkward position suggests continuing motion. Or a basketball about to swish the net is motion frozen in space.

•    Blurry images: This pertains to objects that moved fast and creates certain indistinct outline characteristics that imply motion.

•    Overlapping shapes: These are multiple objects that appear one over the other in varying degrees of monochromatic intensity. It also denotes a feeling of motion.
While monochromatic intensity is an effective medium to define motion, color as well creates similar effect. Objects rendered in differing, decreasing or ascending color intensities is also construed as moving. The whole idea being to train the viewers eye to imagine the varying color gamut that objects go through while in motion.

Remember, movement in design is a critical element. It defines the extent of the importance of a work of art.

Space and Design

noreply@blogger.com (Lasertek) — Fri, 07 Dec 2012 09:48:00 +0000

Design is a delusion rendered on a two dimensional plane. It projects objects to appear in its natural form. This is simply done by the mystical application of the illusion of space.

Three dimensional imagery: We exist in a three dimensional world. Everything around us, objects and structures have surfaces and depth. For designs to appear natural, Artists must mimic space and depth. Just how the illusion of space is achieved is dictated by the understanding of the elements of design. Mastery and application of the elements does not happen overnight. A lifetime may not even be enough.

The illusion of space or depth: Understanding or mastery of the design elements and principles allow anyone to achieve the illusion of space. It is a subject that is really hard to comprehend. Design is different from the perfect sciences that follow rigid static rules. Emotion and a critical eye govern design perfection. This could be done by: (1) variation in the size of objects: (2) one over the other: and (3) perspective.
•    Variation of sizes: Objects spaced one after the other in varying sizes allow the sense of depth. In the natural world, objects that are located far will always appear smaller compared to those just within reach. A series of lamp post for instance arrayed vertically from the smallest to the biggest will deliver the sense of depth. Series of lamp post suggests great distances.
•    One over the other: When one object is placed partially over the other it creates space differential. Because in a way how can an object appear over the other without the spaces separating them. Sizes no longer matter, the illusion of depth happens by the overlapping sequences. For instance when four buildings are projected to overlap one after the other, it gives the illusion of great space. This is because we know consciously the depth of the structures.
•    Perspective: We seem to see that a long stretch of highway meets at a (common) point. This is vanishing point, our eyes allows the illusion to happen. All objects seems to have tie lines that congregate at a common point. However perspective can be shown using only one point, others employ two points to present a structure three-dimensionally detailed.
Anything presented in a design that does not correspond to the natural spatial projection is false representation. Everything must be done in accordance with the natural flow of the elements. Anything less makes the design irrelevant.

Remember that the relevance of a design is dictated by the right application of space considerations. And only those trained and experienced can truly make design masterpieces.

Universal design: Why is it everybody’s concern?

noreply@blogger.com (Lasertek) — Wed, 28 Nov 2012 05:28:00 +0000

Now that global travel is evident, universal design becomes a necessity. Universal design is not only meant for the built environment but applies to all things affecting persons with disabilities.

Universal design is a concept fit for the times: The idea all started as an advocacy. Prime movers that envision allowing access to products and facilities for person’s with disabilities. Considering that it could help a significant portion of the population cope. This in particular affects persons with sight problems, impaired hearing and those with mobility difficulty. What started as a genuine concern from a few caught fire and has gone global. The word ‘universal design’ was from Ronald L. Mace, an Architect. This word was used to describe the concept of designing for the disabled.

Universal design on products and the built environment: It was in 1963 that designing for free access to the disabled took bearing. The book ‘Designing for the Disabled’ started it all. This was penned by Selwyn Goldsmith. One of the most pioneering contributions was the ‘dropped curb’, now a standard feature in all built environment. Other innovations followed suit giving the disabled access to anything within the structure. They can now move from floor to floor literally. Or they can use bathrooms conveniently. The design of products with this intention followed, applicable not just to the impaired but to everybody.

Universal design is everybody’s concern: Universal design has not mushroomed overnight. Although it became typical in huge urban centers, less inclined areas has been slow to adopt. Now that global travel is a way of life, giving free access to the impaired has caught on. Not only are the principles of universal design found evident in airports and related facilities, but also in hotels, government centers, offices and several others. Caring for the disabled has turned into a global phenomenon. The transformation gave the impaired the ability to be part of mainstream society. To live, work, and dream just like regular individuals do.

Aesthetics and universal design: The built environment has been the most receptive to this concept. As the amenities in structures transformed, aesthetics are quick to respond. It actually added new dimension to the design. Architects simply devised some ways to meet the challenge, making use of the elements truthfully to create a pure composition. Design drama is achieved by applying the principles of design forcefully to adapt to the spatial reality. The end result is both refreshing and poignantly revealing. It is as if the challenge has only become secondary and not really mind boggling.

Remember that our brothers who are physically challenged need to coexist fluidly, but should be met with genuine concern from everybody.

How is the element of Art and Principles of design related?

noreply@blogger.com (Lasertek) — Fri, 19 Oct 2012 14:21:00 +0000

Elements of art and principles of design are two different things, but are interconnected. An aspiring artist must be able to feel the elements and conclusively understand the principles behind the art.

Feeling the elements in art; is similar to knowing the foods that is best for your health. Some are good, some are not. You are given the choice to take-in what is beneficial or harmful. What keeps you physically trimmed or fat. Art follows basically the same observation: will adding lines improve the composition; or if the shapes are condescending. What direction is followed; or is texture complimentary. There must be a merry mix of all the elements to make a composition art. It is only when the elements are fine tuned and synchronized can value be achieved. A critical eye can easily see into the innards of the design.

Understanding the principles behind the design; is like applying the elements of art on the canvas. How to go about it for instance is not easy as it seems. Artists follow ground rules (principles) to create a work of art. How to arrive at the emotion shattering focal point in a design determines the knowledge and experience of the artists. The edge that the artist had will now show there is balance in the design; gradation is subtle to cushion transition; contrast is subdued and not overwhelming. However one element the focal point must be dominant to achieve harmony in the design.

Relationship of the elements and principles; carries a delicate balance to create a stunning piece. The amount of sugar and cream in your coffee decides the taste. This is true to design or art. In designing structures for example, Architects apply methodically the principles of design to meet the criterion of a sound structure. Meaning all the elements in art have been dutifully worked-on, so aesthetics and function is satisfied. How is the element in art and principles of design related, is thought immersing. One must realize the depth the element in ingrained into the principles. Elements and principles together create the work of art.

Elements and principles are the building blocks in design. Like any discipline, the building blocks must be learned faithfully. Dedication is the primary mover behind, since it takes not only a critical eye but training and experience as well. Da Vinci or Wright for instance has only achieved immortality late in life. It took them almost all their life to reach the status of guru in Art and Architecture. They were able to conquer and made the building blocks of the discipline their strength and stamina to continue exploring new horizons.

Next time, you look at a piece of art remember the element and principles of design ingrained into the piece.

Emphasis in Design: Dovetails the drama in a composition

noreply@blogger.com (Lasertek) — Fri, 12 Oct 2012 15:24:00 +0000

A work of art is a rendition of elements in motion. It trains attention to heighten the excitement and strongly grasp the drama the designer wants the viewer to experience.

The tale in every composition: Any composition starts with an idea or an intent. The designer simply desires the viewer to appreciate and comprehend the idea laid down on the canvas. Different design elements are carefully arranged to compliment and never contradict each other. Somehow elements are devised to come out alive and in motion. When the rendition is handled masterfully, there is fulfillment in the effort. The motion achieved in the composition leads the eye to the crescendo, the focus or point of emphasis.

Emphasis in design gives compositions the rush: A work of art that appeals to everybody is not as easy to do as one may imagine. It takes eons for a designer to achieve the status. Nobody becomes a Da Vinci or a Michaelangelo outright. However, if one starts on the right track, emphasis in design can be learned conclusively. Achieving the focal point is the glory in any composition. Hereunder are some design ideas and principles to consider:
•    Rely on contrast: Numerous elements laid side by side creates the perception of motion. But some form of contrast must be introduced to create contrast. Since repetitive elements looks monotonous even to the untrained eye. When all the elements are horizontal in direction, one vertical piece can provide the contrast and the focal point. A large plane of color is uninteresting, but a small contrasting color can heighten the drama of the colors.
•    Isolation can also do the trick: Grouping of elements provides the interest to achieve focus. A group of lilies is a sight to behold. But when a canvas is full of the lily element it loses viewers interest. To achieve focus, retain just one and interest will be restored.
•    Strategic location of the main element: Elements appearing on the center of the canvas is never a good idea. The center is a dead spot and must be avoided. Main elements are usually found on the upper or lower one third. It is either a third on the left or right side of the canvas.
A poignant scene on a canvas is never complete without a scintillating focal point. The whole idea of a composition loses its main purpose, if the viewer could not appreciate the meaning or message it wants to impart.

Remember, that emphasis in design is the single element needed in a composition to achieve stunning visual imagery. Focus must prevail, since it dovetails the drama in a composition.

Color in design evokes subjective responses

noreply@blogger.com (Lasertek) — Thu, 04 Oct 2012 11:26:00 +0000

What appeals to one may entirely be different to the other. The use of color in design does not follow a predetermined curve. All colors perceived are hues reflective of the color wheel.

The color wheel is the source of it all. Anything each one of us perceives comes from the color wheel. The leaves, the sun, our body tone and even the pavement have colors associated with the color wheel. Basically all is sourced from the combination involving primary colors – red, blue and yellow. Think of any color: purple and lavender is a mixture of red and blue; green is yellow and blue; orange comes from red and yellow. Purple, green and orange are classified as secondary colors. While the combination of any secondary and primary colors deliver the tertiary color tones. Cool and warm colors are just representations of the red/yellow spectrum.

Warm colors deals primarily with energy, passion and positive disposition. As has been observed any color developed with red and orange are warm tones. Such colors depict energy, passion and positive disposition. Sun and sunshine is a projection of warmth. Likewise passion is fire and heat intertwined. Anger is a personification of suppressed energy. While a mother child relationship expresses warmth’s ultimate dimension. Countries and places that bathe in sunshine all year round fully experience warmth, including the citizens that sport conclusive positive dispositions.

Cool colors are for comfort, relaxation and calm. This is evident across the red/yellow spectrum. It is all about subdued surroundings and represents the color of the night, of nature, of water, snow: Deals with everything that pertains to delivering calming and relaxing energy. While red is the primary catalyst for warmth, blue is for cool colors. To get into the cool color spectrum, means blue must be an integral part. Individuals living in cool and subdued color environments often exhibit reserved demeanor.

Personal and cultural influence: Personal color perception is innate in all of us. It seems one is born with a pre-conceived preference. Where one lives influences or develops the cultural perception of color. Countries in Latin America, together with Spain, Portugal exudes the aura of warmth. This is depicted in the way they dress, in their Architecture, the food and even music. They grew with it and export the preference anywhere they settle. Similar to people from cool surroundings that brought with them the cultural influence of color they grew up with.

Remember, that color design elements and principles are subjective. Anyone has its own perception of color, which could be dictated by personal or even cultural influences.

Texture in Design Gives dramatic feel to surfaces

noreply@blogger.com (Lasertek) — Wed, 03 Oct 2012 10:35:00 +0000

Texture is one element that defines the surface character of an object. To varying degrees, glass is different from stone, or bricks because of its surface tactile character.

Texture can be felt physically or perceived visually: An object could either be smooth, rough, hard or soft. The sense of touch can determine the character of a surface. Typically, wood is smooth as stone is rough and hard to the touch. In similar fashion cotton and most cloth is soft. Visually, surfaces can also have varying degrees of perceived textures. However, in all extent optically light and shadow delivers the coup de grace. Shadows are marked in really rough surfaces, while smooth surfaces are plain when subjected to light. The interplay of shades and shadows in a rough surface creates the telling dramatic effect visually.

The effect of texture in design: Texture is a provocative element in all designs. This pertains particularly to two-dimensional images. Whether in art or in architecture is the moving force behind a design. In renderings for instance, it makes the work so real and lifelike. It feels so natural a viewer it seems becomes part of a design scene. The message is relayed forcefully that viewers can relate emotionally. Images concerning bricks or stone look visually natural. Texture is so encompassing that a 2D design will appear as 3D images.

Texture promotes visual interests: It is a critical element in design, but should be handled appropriately to create harmony.

• Texture should not create distraction among the elements; On the contrary it must be applied to enhance the essential elements of the design. If texture becomes too overpowering it misses its only purpose. For example, textures must never be used extremely in backgrounds. Haphazard application can disorient the intended focus of the design.

• In random design application, texture could be the catalyst to create unity. Careful application of repetitive elements must be observed. Too much of the element can cause disarray. Or too little can defeat the purpose of the design.

• Try to avoid extreme repetition of elements in design. However, if it promotes visual interest in the imagery, capitalizing on texture creates a subtle effect. Texture will tone down the expected projection it creates to the entire imagery.

• In some cases, extreme use of texture can have a pulse-pounding effect. Blanketing the design with texture entirely when done intensely could give viewers a subtle effect. This is achieved by the use of gradients or fading texture. Apply solid or dark colors to the less important. And consciously fade the hue to the lightest ending on the most interesting or main focus of the imagery.

Remember, that texture is the culinary equivalent of icing on the cake. It makes or breaks the design. Visual imagery is all that matters.

Next time a design looks perfect, try to look deeply. Texture surely gave the dramatic feel of the imagery optically.

When A Piece Of Art Looks Perfect Unity In Design Must Be Encompassing

noreply@blogger.com (Lasertek) — Mon, 17 Sep 2012 10:50:00 +0000

Unity in design is really hard to achieve, but easy to distinguish. Working on a piece of art to promote unity may take eons to complete. Only a glance at the finished work can confirm if unity has been reached.

Unity around us: When unity is not applied in design or art, it is easy to understand. Abraham Lincoln gave unity to the entire American nation after the civil war. When a man and woman tied the knot in marriage, unity happens. When a bridge or any structure holds, unity is achieved because all the structural members worked in cadence to achieve a common front. Unity is like a puzzle, where all parts must fit together. This is similar to words placed just anywhere on a flat surface that do not convey anything. But when words are arranged into a sentence, it delivers a message. That is design unity.

Principle of design: Unity is supporting each other: Art pieces create unity in the design when all the elements support each other. Meaning one element is placed to support other elements. In a room for instance, where rectangle is the dominant element, all other things must have similar characteristics to support the dominant element. Unity in design is achieved in a painting that depicts the bed as rectangular, the floor pattern, the night table, the windows and even the prints on the curtain or the bed sheets. The elements blend and support a unifying visual rendition.

Unity is communicating: Visual art starts with a subject aimed to be imparted to the audience. Unity must be expressed forcefully so viewers can experience the depth of the message on the canvas. Michaelangelo’s ‘Madonna and Child’ for instance communicates to the viewer’s agony and suffering. The convoluted mass of torso and body parts are all made in support of the subject. Or the way the suffering as expressed by the mother lead viewers to experience the subject of the art. All the projected elements belong to each other.

Unity is order in the design: When all the elements are in order, the result is unity. As each element supports each other, all belongs to each other. It creates a visual image of perfection where one part exists only because of the other. The human body for example is design unity. You take out the eye and the vision is impaired. When the ears are sacrificed, hearing suffers. Or when the feet are taken out mobility becomes a problem. All parts support each other. Similar to the unity expressed in a piece of art. Not a part must be taken off because it will be impossible to redo what is left of the work.

Remember, when you understand the message the designer wants to convey, unity of design must be astonishing.

Rhythm In Design Consciously Captivates A Scene

noreply@blogger.com (Lasertek) — Fri, 14 Sep 2012 10:59:00 +0000

Rhythm introduces order to make anything visually entertaining. We see it all around us, in nature or in man-made structures.

Rhythm is organized movement: Objects placed one after the other in equal spaces creates rhythm. It could be a line of trees, breathing, heartbeat or the movement of waves. Anything that follows a regular pace or interval is rhythm. However, rhythm is only easy to understand when objects are in motion. But, it is harder in design because motion is made to happen in a rigid or static body. To achieve rhythm in design, the eye must be drawn towards a series of patterns and perhaps colors. Perception actually makes motion possible in a linear plane.

Rhythm and design principle is repetition: When visual patterns are arrayed or arranged one after the other in a linear space it creates unity and movement. There are ways to create rhythm:

The simplest being the regular arrangement of similar elements in a linear axis. Patterns could be used as borders, vertical or horizontal trim. It could even go circular or diagonal. So long as the repetitive element is present, rhythm is achieved.
The repetitive element could be color; it can be any shape, arrayed alone or in groups. Even in monochromatic surroundings if the patterns can lead the eye towards a point of interest there is rhythm.
To add interest to rhythm shapes and pattern could not always be similar. It could be varied but follow a regular pace.
Rhythm could also result by progression, not only the shape, but the character of a recurring element as well.
Light and shadows can be made to project rhythm. In Egyptian temples for example, lights coming from the clerestory delivers an eerie sense of rhythm.

There are so many ways to create rhythm. Only trained application of the recurring element can project unity. Chaos often results in a composition when the principles of design - rhythm are not dramatically organized.

In the design of buildings, rhythm is the most relied element. Structural members like beams, girders, columns are meticulously spaced from each other to create the desired effect. This is evident in the colonnades of Greek Temples of the past. Windows in the Renaissance and Baroque period are as well designed to create a pattern. Modern skyscrapers made the curtain wall of mullions and glass panels to create repetitive harmony; even in dams and bridges. Look at the Golden Gate in San Francisco, vertical members are spaced equally giving it rhythm. All the structures serving our needs are all conceived with rhythm in mind.

Remember, that when an object is visually captivating, possibly all the recurring elements of rhythm in design is working.

Applied Refinements In Structures: To Tame Optical Illusion In Design

noreply@blogger.com (Lasertek) — Thu, 13 Sep 2012 10:15:00 +0000

Optical illusion is as old as mankind. It is practically all around us. It gives us a distorted sense of perception. It seems our brain cannot decipher what the eye can see.

Optical illusion or visual illusion

This phenomenon happens when the brain and the eye cannot seem to agree on the stimuli. Or the information feed by the eye and perceived by the brain. Objects will look different from the objective reality. A pen for instance when half immersed in water will look as if broken in two. The negative image we often see after staring at the sun is a form of optical illusion. It is like seeing things slightly different from the actual images. In man-made structures for instance, optical illusion is tempered. Some refinements are made to correct the distortion. This is applied to give the structure a visual rendition as natural as possible.

Optical illusion in structures are often seen as: (1) long horizontal parapets seems to sag at the center; (2) vertical columns seem to lean outward; and (3) corner columns often look smaller or thinner when viewed against adjacent pillars of the same size. All of these distortions give onlookers disconcerting feelings. As if the designers and builders failed in their craft. This will look really alarming to most. But, for those familiar with optical illusion will just shrug-off whatever is visually upsetting.

The Greeks actually taught the world refinements to correct optical illusion and designers had benefited from it. Not just the Romans who came after the Greeks, but to Michaelangelo and the Renaissance, up to Walter Gropius and the modern movement. Three of the refinements are the following:

Greek structures of the past are often characterized by long flowing horizontal lines. This is seen in the entablatures, the steps of the Stoa and several others. Because the structures are mammoths in scale, the long horizontal stringcourses are seen to sag at the center. To correct the visual distortion, Greek artisans purposely curved and raised the center. Thus, when viewed, it looks normal and straight to the naked eye.
The columns of the Parthenon are constructed to lean at a degree inwards. This correction has to be implemented to correct the feeling of columns falling outwards. In particular when the columns are viewed from the steps of the Stoa.
The corner columns of buildings are designed slightly bigger or larger. This is to correct the impression of columns appearing smaller when viewed against the sky. Optical illusion dazzles, columns viewed against a dark background looks bigger in comparison.

Although, there are other refinements introduced to temper the effects of optical illusion, none are more pronounced than the above mentioned.

Next time a structure seems visually appealing, the refinements has perfectly added the dimension to correct optical illusion.

Scale in Design: Putting Order in All Things

noreply@blogger.com (Lasertek) — Thu, 23 Aug 2012 10:59:00 +0000

Scale is a dimensional element that gave meaning to building design. It found fulfillment in the classic design of the Greeks, to the Renaissance and today. Michaelangelo, Palladio, Sir Christopher Wren and others found inspiration in this element.

Scale is a definitive dimensional element related to art, and the surrounding environment that co exists with humans. Scale truly defines the physical size of things. This element is the ‘Divine Proportion’ as coined during the Renaissance Period – a design aspect believed to be God-given. In application, the divine proportion is equivalent to the diagonal leg of a square, equivalent to 1.618. It carries a fixed rule, meaning that if the doorway height is 2meters for example, the width should be 3.236meters. When used to design building blocks, scale or divine proportion truly created a stunning mass.

The past is a rich source of inspiration of the application of scale. Artisan’s never created masterpieces without scale giving the impetus to build. Classic design of the Greeks depended on it to build all what is entombed in the Acropolis. Though already in rubble now, the ruins suggest the splendor that it once was. This perfection is evident starting from the colonnade of Doric Columns of the Parthenon; to the richly chiseled out ornaments in the tympanum. Up to the bare simplicity of the Naos; all derived immortality in the use of scale. It was the buildings of the past that taught us the true contribution of this design element.

Scale in design is not a new theory. It has existed even before the Etruscans learn to build. But, the present is a true testament of the scale as the primary dimensional element. The evidence is all written around us, not just in building structures. Scale is revealed in the design of jewelry boxes, to sofas, to gaming consoles, even to the video screens and in almost everything. It may not be glaring to most but to the trained eye it is everywhere. However, the true beneficiaries are the buildings. Look at skyscrapers, they are the products of the 1.618 dimensional element. Scale does not only suggest aesthetic appeal and practical planning but structural stability as well.

The influence of the scale element is forever. As long as mankind exists, scale as a design provocateur will always be a part of it. It will continue to inspire generations of designers, in the same poignancy as the Greeks, the Romans; to Baroque and Art Nouveau. No one will be immune to the influence; particularly buildings and related habitats for mankind. Scale is the soul of the design and will put order to all things.

Proportion is All about Looking Good

noreply@blogger.com (Lasertek) — Wed, 22 Aug 2012 09:25:00 +0000

When you talk about proportion, it refers to anything visually entertaining. Look at something spectacular and proportion likely is the reason behind its appeal.

Proportion is everything. All the things around us exist because of this design element. This is the common constant found in nature and man-made structures. Trees and vegetations grow if the design element is present. The trunk must be proportional to the crown to create stability. Roots must as well be in order to hold the crown and the trunk. A woman in the right proportion will look stunning. A big head on a slender body or vice-versa will be ugly. Much as a small mural will look lost in a large wall. Proportion plays the catalyst to make a thing look spectacular.

Proportion drives the wedge between what is and what is not. We are all exposed to the influence of this design element. Distinguishing what is right and wrong is fueled by each others perception. One will look differently at an object but the same object will be pleasing to the next. Everybody has our own gauge of what is ugly or beautiful. But what makes it universal is when a thing is presented in proper proportion; and perception becomes unanimous.

Proportion in design is ‘golden ratio’ at work. Designers depend on the ‘golden ratio’ (1.618) to create structures. It serves as guide to make building elements proportional to each other. And the past is the bible of information. The Greek artisans of the past taught the world the right application of column proportions. It is the height of the column in relation to the diameter. In constructing temples, Doric columns follow the 7D ratio, meaning height is seven times the diameter. In effect, if the base diameter is one meter, the height is 7m. The result is perfect, not too slender and never stout.

The skyscraper follows the discipline of the principles of design proportions. These are all evident around us. Take a closer look at the Empire State Building; the base is 200feet and the height is around 1,400feet. It is actually a manifestation of the Doric 7D proportion at work. This only justifies that the right proportion will be applicable even in vertical structures. And the result will truly be a visual treat. However, without the elevator, the multi-story structure is not possible. Elisha Graves Otis (inventor of the elevator) must be credited for the rise of the skyscrapers.

Remember, that the element proportion is all about looking good - nothing more, nothing less.

Balance in Design - The Most Fundamental Element of the Arts

noreply@blogger.com (Lasertek) — Tue, 14 Aug 2012 10:02:00 +0000

Balance is in everything and everything is all about balance. Art is about balance and design as well. Even order in the Universe is possible because of balance.

Balance is the most fundamental of the design elements. Balance in design is achieved by simply putting two similar objects on the opposing sides of an axis. Meaning what is on the left of the axis must also be present on the right. Or what is on top must have a counterpart below. If one is observant, balance is evident in the works of the Masters. In the application of colors, in the subtle display of objects, even the interplay of shades and shadows all add-up to create the masterpiece. Although, when looking at one, harmony dazzles more that balance looses its importance to the visual spectacle.

Formal and informal balance happens coincidentally in works of art, designing structures and even in music. In the real world formal balance in design seldom occurs. Everything wallows in informal balance. Only precision can create formal balance in laboratories. Formal balance is dead and static, while informal balance is alive and moving. A pound of rock on one side and a pound of cotton on the other is an expression of informal balance. They may look differently but had balance still. That is why this form of balance is never quantifiable in the works of art, but is the essential element to create harmony.

Art is about balance. And when principles of design balance are put into a canvas, it creates a stunning masterpiece. A work of art is not dead per se, but a moving rendition of the artist’s capability. The artist exploits the enigma of informal balance. That is by putting into the canvas the static state of images comes in motion. This allows the onlookers to experience the confined environment of the images. Informal balance drives the depth to fully appreciate the current state of the images. When a scene is depressing it gives onlookers a chill. But when it is about a momentous occasion, onlookers partake of the mood.

Architecture is all about informal balance as observed. This is the trend, unlike in the past where designers were totally engrossed with formal balance design. The structures built in Acropolis, Greece are all examples of the design principle. Look closely at the images of the Parthenon and formal balance is the obvious conclusion. Michaelangelo even followed the principle strictly in the design of the St. Peter’s Basilica in Rome. Other masters followed. But with the advent of the modern movement everything changed. Frank Lloyd Wright particularly made the principle sit back.

Remember, that balance is everything! It is the most fundamental of all the design principles.

How Lines and Shapes Determine Character in Design?

noreply@blogger.com (Lasertek) — Mon, 13 Aug 2012 15:28:00 +0000

Character in design is very important because it exposes the true purpose of the design visually. The façade tells everything whether the structure is institutional, commercial and residential.

Character is everywhere, not just about human beings, but in almost anything. In human beings, how one projects one’s self reveals his character. Dignity is associated with teachers. Meekness and thick eyeglasses meanwhile personifies a geeky stance. Colorful attire and long hair are for the rock stars. People are typically typecast due to their character and preference.

In design, character is the dominant element. Just by looking at the structure, one can conclude that a building is institutional or a penal facility and whether it’s a home or office. Whoever thought that a car would look the way it is now. How bout a coffee maker or a lounge chair? Everything is made to show character.

Character in design dictates the direction of the structure. Designers are very solicitous when it comes to the character of a structure. They are sensitive to criticisms and usually follow the norms set by the standards. This preference makes a lot of sense because who in his right mind would want a commercial buildings to look like a funeral parlor or vice versa. They do not want their designs associated with something else, like residences duplicating barns in character. There are set characters for designing institutional buildings and specific sets for residences and other structures.

Lines

Lines promote character. Line is a critical element in design. How it is employed can determine the true character of a building. Horizontal lines are typically associated with institutional buildings since these project restful indifference. Vertical lines, on the other hand, are indications of vibrancy, hope and struggles. Office buildings are meanwhile treated with lines reaching out to the summit. This is symbolizing hope and things that can happen.

Shapes

Shapes as well determine the character design of all structures. It extends beyond what lines project. A horizontal mass is typecast as institutional. This only suggests that the character must complement the work inside. High-rise buildings are for people always on the go; that is moving erstwhile from floor to floor even with the use of elevators. The oval, cylindrical or hemispherical shapes are typecast for gymnasiums and sports facilities. Shape is created out of necessity rather than the designer’s whim. Since an oval is practical for this application to allow spectators equal opportunities to see the spectacle happening on the court.

Next time you look at a structure from a distance, the character will truly be cognizant and thus reveal the soul.

Using Corner Connectors to Extend the Workspace

noreply@blogger.com (Lasertek) — Tue, 07 Aug 2012 13:32:00 +0000

Segmental transformation is how home and office furniture has developed. Workers can now custom arrange work spaces by using pieces designed to connect to each other. Corner connectors are added to the main work desk to transform and suit worker preference.

This has been a long awaited development for home and office furniture. It is in response to the demands of the ever increasing daily workload. Personnel can no longer contend with the current set up as they process not dozens but hundreds of documents daily. The work area therefore needs to be extended so that personnel can move from one space to the next conveniently. Numerous storage cabinets must be installed for the upkeep of a growing load of files. Mobility is provided by specific office chairs with casters, which allow personnel to just coast along.

Modifying the workstation to suit personnel requirements is made possible by attaching furniture pieces and accessories to the main work desk. There are actually hundred of ways to do this. Several collections of desks, hutches and accessories can transform a workstation to increase workflow efficiency. Adding corner connectors on both ends of a worktable for instance results in a double L, which triplicates effective workspace and also increases file storage capacity.

All of these office product extras are designed to blend with the existing furniture. Most pieces have 1” thick Melamine work surfaces that are scratch and stain resistant. The edges are built with banding stands to reduce dents during installation. Hutches add overhead storage files. File drawers are provided with ball-bearing slides for convenience in storing and drawing-out files.

All that is needed is imagination and corner connectors to make the workstation aesthetically pleasing, workflow efficient and productive.