Biology and The Written Word
DS 73-2 Proceedings of the 2nd International conference on Design Creativity Volume 2
Year: 2012
Editor: Duffy, A.; Nagai, Y.; Taura, T.
Author: Weilein, L. C.
Section: Design Creativity Methods and Integration
Page(s): 367-374
Abstract
In a contemporary society of vast computing tools and cutting-edge design software, the possibilities of image making and typesetting are boundless; there is virtually no limit to the potential for creativity. The brain itself, the source of this creativity, is similarly capable of remarkable feats—advanced logic, an immeasurable memory capacity—yet we experience our world solely through our senses, knowing only what the brain interprets of the body‘s incoming electrical signals. In the context of graphic design, written language, developed using such fundamental sensory input, makes full use of this processing power. It raises questions regarding the nature of sensation, perception, and its own representation in the hands of a designer. With the awareness of these biological processes comes an understanding behind the artistic judgments we make as designers; we can take advantage of this knowledge to make better, more effective creative decisions.
Keywords: typography, perception, synesthesia