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franz werner
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Pictograms are predominantly wordless, permitting the mind to ďŹ nd sense in visual connections. The system is intended for use chiey in instructions, in some international media of communication and transportation. For instance, in writing instructions of how to use a telephone a short series of pictures could be given which would be internationally understood instead of long written instructions which would be understood only by persons acquainted with the local language.
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‘Writing’ is frequently more expressive than speech. This is especially true of the pictorial writings, that is, writings like Egyptian which faithfully preserved the form of the picture. Thus, for instance, in the spoken sentence: ‘I put myrrh in the vase,’ there is no indication as to the size or form of the vase. In pictorial writing this vase can be drawn large or small, in a certain color and in a certain form to indicate its desired qualities. Sometimes further information can be conveyed by unpronounced determinatives, as in the use of the determinative for stone or metal, added to the picture of the vase.
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Human Form Auditoriums have become multipurpose spaces but in an academic setting they clearly differentiate themselves from movie theaters. Activities in a school auditorium are generally introduced through a speaker. Either the microphone and/or the podium have a significant place in the pictogram design but the human figure is quintessential. If the designer chose a spatial rendering technique to include rows of benches can be helpful.
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DINING
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Object Form The traditional library houses mainly books and provides reading areas. One of the challenges for the design student is to convince the audience of the intended venue, the library and not a Starbucks. The book is the main object and needs to be included in the pictogram. Additional objects are book shelve(s), table(s) and chair(s). The anatomy of these objects listed consist typically of vertical and horizontal lines and organic form is absent.
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DARK ROOM
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LIBRARY
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Pelibeaquosam animpor eptatempore rese num quam velluptatur, sitiis si aut molorerume dendunt. Verum illest odis erem qui voluptatur as a consequi is ipit mo iusa quibusciunt odit fugitis conet audio ma consequi accum ium ium quaspienem volores simodit volest adiatet odi ut que vent offic tem quam quam, sequos exero eosame iduntio nseque est aut delliciatae velitaerum aut et rem lanimin ctatiis consenia doloreratet magnimil est, eost et ereperum venducilit adicaep erorpos pro optamet voluptatiore qui od et, nit quas rem. Neque modi dolupta tectem sequi rest, ipsapis pre cus dessent.
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Pelibeaquosam animpor eptatempore rese num quam velluptatur, sitiis si aut molorerume dendunt. Verum illest odis erem qui voluptatur as a consequi is ipit mo iusa quibusciunt odit fugitis conet audio ma consequi accum ium ium quaspienem volores simodit volest adiatet odi ut que vensit experch.
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CIT BUILDING
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TYPE SHOP
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Sketching or visual recording should be a regular habit. Especially after being stricken with a brilliant idea and while still in that vital state, to begin sketching means passion. If a piece of art possesses no soul, my believe is that most probable sketching has been neglected. The ďŹ rst stage would involve drawing and along with that goes writing – they certainly go hand in hand. In order to maintain the right amount of motivation over a project, one should look for inspirational supports, which might be sought from an individual, someone else’s work or both.
To all who have so generously contributed their experience and their time in perfecting the plans for this book, and who have helped to bring it to completion, my sincere appreciation is extended. Special acknowledgment should be made to Mina Park, RISD BFA graduate of 2015. I owe a dept of gratitude, to her efficient work on this book project.
About The Teacher Franz Werner was born in Basel, Switzerland. In 1972 he received his Swiss Federal Diploma in Typography. From 1978 to 1979 Werner studied under Wolfgang Weingart for his degree as “Typografischer Gestalter” followed by a 2-year post-graduate program in graphic design under professor Armin Hofmann at the School of Design, Basel. Werner worked for Birkhäuser AG, Basel and for Schwabe & Co., Basel (former employer of distinguished designer Jan Tschichold). In 1975 Werner moved to New Zealand where he worked for the N.Z. Government Printer/Publisher. He started teaching at RISD in 1981 with a focus on typography and photography while maintaining a freelance practice in design, with such clients as Intel, International Paper and Brown University. Werner has lectured and taught at the Osaka University of the Arts; Sozosha College of Design; University of Canterbury, New Zealand; University of Art and Design Basel/Switzerland, Fraunhofer Institute, University of Darmstadt, Germany.
Book Design Franz Werner, Mina Park
He is the recipient of the PDN/Nikon award, the Faculty Development Grant for research in icono-graphy and the RISD alumni association award for Art of Education.
acknowledgements
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Adam Lowe – 35,36
Ben Scott – 05,06 63,64
Caroline Bagley – 87,89
Daimin Cheng – 07,09
Cassandra Jenkins – 63,64 101,102
Daniel Giuditta – 08,09 26,67 68
Edward Farnham – 66,72 76
Adrienne Yang – 57,58 103,104 Alexi Drago – 46,50 61,62 101,102 Alice Taranto – 59,60 81,82
Catherine Chang – 31,32
Deana Choi – 13,14 18,27 28,34
Emma Mendel – 53,55
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Gavin Motnyk – 49,50 101,102
Holly Peterson – 51,52 81,82 88,90 97,98
Jennifer Cash – 99,100
Kelsey Lim – 73,74
Lacy Gunner – 85,86
Hyejin Ham – 57,58 77,79 85,86
Jenny Patterson – 63,64 Jieun Kim – 67,68 91,92 Joohee Kim – 05,06 35,36
Lani Choi – 57,58 Leslie Lee – 73,74 Liat Werber – 37,39 Lyla Thomas – 38,39
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Mary Tao – 27,28 41,42 75,91 92
Olivia Verdugo – 19,21 27,28 41,42
Sam Song – 67,68 79,80 91,92
Sophie Choi – 09,10 20,22 29,31
Sarah Lee – 30,31 39,40
Suejin Yoo – 49,50
Sarah Lin – 13,14 73,74 81,82
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Yeawon Kim – 12,41 42
Zhengzheng Zhou – 05,06 69,70 78,79 84
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