explanations - edward r. tufte, 2010
herbert matter - thirteen photographs
power of infographics
Charley chartwell
this one caught my eye because i thought it was quite funny, i was interested on how they mixed humour in a form of data but it is quite clearly successful here.
Stefanie Posavec - information graphics
what i really liked here is how she translated words into this delicate data with soft colours. I also really liked how its all laid out and its easy to read without everything being mushed together
anonymous artworks
A wide array of artworks—major and minor paintings and sculptures, written texts and oral traditions, graffiti and public monuments, ceremonial objects and applied craftsmanship—are destined to remain the products of anonymous creators. Cities, museums, and various cultures are all inundated with anonymous works of art. Anonymity is thus hardly a new challenge for aesthetics and audience reception. Since early modernity and the rise of the Western art institution, artists, antiquarians, and theoreticians alike have had to cope with the fact that for many significant artworks of the past there has been no evident source regarding the name of the artist.
from my visit to the v&a i have found a couple of reasons why some of these artefacts may not have been credited.
- stolen artefact due to colonisation
- due to the creator being poor and no one knowing about them or they didn't have any family to be documented into society
- gifted artefact to a rich family (the gift in most cases would have been stolen)
for my idea: anonymous creators
Museums and various art institutions are forming vast electronic databases, accumulating more and more registers and names, and there is a growing mass of contemporary artwork that bears some kind of signature. The CONA (Cultural Objects Name Authority)4 database of the Getty Research Institute is a clear indication of the sophistication and variability in current metadata cataloguing of artworks. Given the volume of art collections and the sheer expansion of contemporary art itself, it would actually be a very hard if not impossible task to determine whether the vast repositories of artworks are predominantly based on anonymous or identified artists.
source: https://www.tandfonline.com/doi/full/10.1080/20004214.2017.1302709
source: https://collections.vam.ac.uk
using this website i will collect more accurate data from each floor of the v&a.
I have made a list of the data collected from this website:
level -1 = 891 artefacts with no makers name
level 0 = 3025 artefacts with no makers name
level 1 = 960 artefacts with no makers name
level 2 = 3958 artefacts with no makers name
level 3 =2324 artefacts with no makers name
level 4 = 14,015 artefacts with no makers name
what i have seem to notice is that the drastic distinctive between levels is level 4 this floor has all the ceramics. it would've been much easier to steal or even forget about these and not credit anyone due to them being so common.
level -1 contains european artefacts from 1600 - 1815 this is the floor with the least artefacts with no makers name. I think this tells us a lot about history..
- from the same book on the left
-general bathymetric chart of the oceans, international's hydrographic organisation (ottawa, canada, 5th edition, 1984)
-every colour tint on the map signals four variables: latitude, longitude, sea or land and depth or altitude measured in metres
-there is sufficient visual space for the grey lines because the representation of depth does not use up all the informational possibilities of colour in the map an since the contours are directly labeled with numbers, the fine distinctions in blue remain clear and readable
-indicating depth with visually minimal gradations in colour
The depth map:
-aggressive colours so natural and inquantitave render the minimal distinctions reduce visual clutter
-i was rain to both of the maps as the colours both stood out to me, especially the depth one
-this one was a little bit harder to understand as its more on the scientific side however it wasn't complicated due to the key and the colours helping
covers for medical magazine "physician" - Takashi shima
the reason why i was intrigued by these was how they look realistic and they use still life photography which i thought was an uncommon way of showing data, however it is a poll about doctors from large and small hospital so there isn't so many sub categories to break down and can be shown in a single object.