In Brian Donnelly, “Iteration” firstly, we visually compared images, breaking them

down to simple forms to study their similarities and how design has brought

fundamental changes in communication and is an art of extremely fine

differences. On page 20, we analyzed “On great sea of graphic art” by O.K.

Schenk (fig. 1) with Allan Fleming’s “Leo Lionni’s Graphics”(fig. 2) on a formal

level, they both look simple and virtually identical that comprises of a few lines of

text, two-color print, second color form the background covering 2/3 of whole and

an illustration but they did not feel/read the same. Comprising of wavy text and

silly illustration, “great sea” (fig. 1) looks more playful and absurd in contrast with

the “lion” image (fig. 2), that is well structured, organized and logical; and with the

absence of decoration and unnecessary elements and rational thinking the “lion”

image closely associates with modernism that we define today. Interestingly, in-

class, we argued the exact opposite, “the great sea” looked more modern with its

loose text and playfulness and the white space, than the “lion” image that used

an old-fashioned font and illustration. This shows how all our verbal associations

with visual imagery are constantly changing with our culture and provide them

with context by referring them with our history. Nothing about these images have

changed, just the system around it. In the other counter-example, we studied two

ads (fig. 3, 4) that appeared to have a very different denotation because of their

stunningly contrasting approach in design styles. In design terms, where one’s

(fig. 3) very rigid, clear, structured and logical other (fig. 4) appeared extremely

abstract with its wild and crazy churning forms created using algorithm. These

ads were in fact intending to