So far only one theory is known. Free space increases the costs of printing and production, especially in print. One reason that could speak in favor of reducing the design is that simple forms and few texts are easier and faster to receive. In addition, people tend to avoid long and cumbersome information.

Literature research, qualitative surveys and interviews should serve as the primary method. At first, basic theories and explanatory approaches should be found out with the help of literature. Then, based on the knowledge gained, it should be checked whether there is statistical evidence of the added value of “omitting”. In addition, authors, designers and scientists are to be questioned in qualitative analyzes.

– Research: 2-3 months

– Data collection: 3-6 weeks

– Data evaluation: 1 week

– Creation of the workpiece 2 months (parallel),

– Write raw text 1 week

– Revision 2 weeks

– Layout 1 week

– Final correction 2 weeks

White space is often viewed as wasted space. Even if it could sometimes be useful to create space, this is usually left out and filled with content. This is at the expense of legibility in layouts, the receptivity of advertising material and the weariness of advertising for viewers. What the problem lies in should be examined in the work.

Are emptiness, white space and reduction seen as wasted space or do they also have positive properties?

What remains if you leave everything out? Exactly this question is being investigated. White as a symbol for the void, for nothing and for the thoughts that one makes when they are not given. In a world where a white poster attracts more attention than the best design, is it the case that the viewer longs for quiet rather than the latest ideas? What are the reasons for saving free space? The aim should be to answer the question about the sense of white space and to find out whether there is a deeper benefit in design when methods of reduced design are used.

Thesis: Drawing from Experience

Datum

2010

Autor

Hunkin, Mathew

Rights

The Author

Publisher

Massey University

Gestaltungshöhe:

Die Arbeit selbst wurde nicht übermäßig weitreichend gestaltet. Mehr als ein Standard Layout, welches womöglich sogar eine Vorlage sein könnte, ist nicht zu finden. Bilder und Illustrationen sind zwar vorhanden, da diese aber Teil der Arbeit sind und kein Gestaltungsmittel, sind diese auch nicht zu zählen.

Innovationsgrad:

Hier zeigen sich die Stärken des Autors. Dieser bespricht ein sehr bekanntes und auch teilweise sehr umfangreiches Thema, eröffnet jedoch ganz neue Aspekte. Aktuelle Themen und Bilder werden aufgegriffen und neu interpretiert.

Selbstständigkeit:

Dies ist schwer herauszufinden. Offensichtliche Zitate sind als solches Markiert, diese unterstützen aufgestellte Thesen und sind daher nicht nur eine Zusammenfassung verschiedener Ausschnitte aus bereits vorhandener Theorie.

Gliederung und Struktur:

Auch dieser Punkt wurde sehr gut bedacht. Nicht nur werden alle Abbildungen in genauen Verzeichnissen festgehalten, auch die Herangehensweise, der Zeitliche Ablauf, die Methodik und die Verfahrensweise werden genau beschrieben. Zusätzlich zur wörtlichen Beschreibung werden mehrere Infografiken nicht nur zum Zwecke der Veranschaulichung von Ergebnissen, sondern auch zum Zeigen von Herangehensweisen verwendet.

Kommunikationsgrad:

Es wird klar dargelegt, worauf der Autor hinaus will. Es werden alle Schritte und Erkenntnisse sehr gut und verständlich erklärt. Dabei wird einem auch das Gefühl der Vollständigkeit vermittelt. Sprich, kaum weitere Thesen werden aufgerissen oder unbeantwortet gelassen.

Umfang der Arbeit:

Die Arbeit umfasst 48 Seiten, welche ohne übermäßigen Weißraum gefüllt sind. Inhaltlich ist zu sagen, dass zwar ein großes Thema behandelt, dieses jedoch auf einige Teilaspekte runtergebrochen und somit eingeschränkt wird.

Orthographie, Genauigkeit, Sorgfalt:

Orthographisch weitestgehend ok. Kleine Fehler, welche in vor allem Typographischer Natur sind, fallen schnell auf (=viele doppelte Leerzeichen, fehlende Leerzeichen, falsche Apostrophe, falsche Silbentrennungen). Weiters hätte es zur Lesbarkeit beigetragen, wenn Blocksatz und eine etwas größere Spaltenbreite zur Anwendung gekommen wäre. Auch die Wahl der Schriftart ist nicht immer gut, da diese vor allem bei Überschriften schwer lesbar ist. Zudem ist der Zeilenabstand sehr hoch, was zum überspringen einzelner Zeilen beim Lesen führt. Auch der Mix von Einrückungen, Kursivem Text, Schriftschnitten und Absätzen, ist nicht wirklich durchdacht und nicht zweckdienlich. Weiters sind auch die Abbildungen oft sehr ungünstig Positioniert, weswegen eine Zuordnung zum Text, trotz Fußnoten umständlich und verwirrend sein kann.

Literatur:

Bis auf zwei Ausnahmen handelt es sich um damals Aktuelle Literatur. Auch die Auswahl der Bücher und Autoren scheint sehr durchdacht. Durch Stichproben kann man auch bestätigen, dass es sich um sowohl seriöse als auch fachgerechte Literatur handelt. Dies trifft jedoch weniger auf die verwendete Web-Literatur zu, welche ein gutes Drittel der Verwendeten Referenzen ausmacht. Hier handelt es sich nicht immer um Primärliteratur, bzw. um Zusammenfassungen oder Ausschnitte. Weiters ist fällt hier ein Problem der Zitierregeln auf: Da kein Datum angegeben ist, wann der Link zuletzt geöffnet wurde, gelangt man manchmal auf inaktive Links, welche somit überprüfbar sind.

There have been studies on the course of white space conditions in newspapers for up to 40 years. This shows that free space was saved in the past purely for cost reasons. Why this today still has a negative connotation does not emerge from it. The question of white in relation to perception is problematic. It is not uncommon for papers, unlike good scientific practice, to start from facts, but rather from very bold philosophical approaches. Starting with the meaning of white up to the conveyance of emotions through the color.

Risks:

Missing literature is foreseeable and very critical. Apodictics through the experience of designers is a common practice in the field of design. Furthermore, a drift into philosophical approaches is feared and avoided if possible.

White

– Weißraum
– White Cubes
– Leere als Raum für Gedanken
– Reduktion
– Farbgeschichte
– Farbverwendung
– Farbmythologie
– Papier
– Weiß in Japan
– Gegensatz zu schwarz
– White Noise
– White out

“Designing Japan: A Future Built on Aesthetics” describes the vision of the renowned designer Kenya Hara of a Japan of the future, the design of which is based on a unique philosophy of beauty and wisdom from all over the world. To realize this vision, the book travels back to the beginnings of professional Japanese design in the 16th century and tells its story up to the aftermath of the Tohoku earthquake in 2011.

In order to connect Japan’s past with its future, Hara is investigating phenomena that the island nation will have to face in the future. He draws on three decades of experience as a designer and curator. Hara meets challenges such as an aging population, a changing industry or the rapid advances in technology with solution-oriented design that accompanies his explanations with illustrations.

The Design Ethos of Dieter Rams

This is Dieter Rams’s 808-page book about his work, back in print in its original form with a PVC softcover and slipcase. The relevance of famous Braun designer Dieter Rams in modern design remains unbroken.

In his more than 40 years at Braun, Rams established himself as one of the most influential designers of the twentieth century. True to the principle of “less but better” his elegantly clear visual language not only defined product design for generations, but also our fundamental understanding of what design is and what it can and should do. Less and More offers boundless inspiration for anyone interested in the aesthetic and functional aspects of applied design.

The editors of Less and More are Prof. Dr. Klaus Klemp and Keiko Ueki-Polet. As one of the leading experts in the field of product design, who has known Dieter Rams for many years, Klaus Klemp knows his work like almost no other. Keiko Ueki-Polet is one of the most renowned design curators in Japan and is very familiar with the design scene in both East and West.

In psychoacoustics, white noise is used to combat noise and in the field of tinnitus retraining therapy as a masker; Noise and other background noises are subjectively perceived as less loud and annoying if they are superimposed with white noise. Noise in which all frequency components sound roughly equally loud is referred to as 1 / f noise. It has a power density spectrum that decreases with frequency.

In stochastics, white noise describes a discrete stochastic process of uncorrelated random variables with an expected value of 0 and constant variance. It is weakly stationary and has a constant spectral density. The white noise represents the simplest stochastic process, but many more complex processes and time series are constructed from them, such as the random walk or ARMA processes.

“Negative space gives the observer some breathing room, a place to relax before moving on. The negative space in a composition may also help to shift the eye of the observer from a void to a place of focus. East Asian art effectively made use of the concept of emptiness.

Negative space is the empty space around the positive image of a painting, a photo, even within a garden. Negative space is far from empty. Negative space can form an artistically interesting shape, and may be the real subject of an image.

Negative space in Japanese is yohaku no bi,  余白の美, i.e. the beauty of a white space. Negative space is used in sumi-e paintings as well as in other art of Japan and China. It is this aesthetic that influenced the simple tatamis and shoji in a Japanese home. I am especially a fan of the white walls, aromatic grass tatami, and shoji that divide the rooms and allow a diffused light to come in from the outside. The Japanese admire a space between, also calling itma, 間, or aida, a kanji used in everyday Japanese to mean inbetween.

19th and 20th century modern European painters used yohaku no bi in their paintings. After 1854 when the Japanese were forced to open their borders after 250 years of strict isolation, Japanese prints, paintings, and fine pottery were sent to Europe and North America. Europeans were ecstatic to see these ‘exotic’ new pieces of art and bought all they could find. Van Gogh, Paul Gaugin, Monet, Mary Cassatt, and Edgar Degas copied the styles from Japan. Later Dalí incorporated these ideas into his work.

It is this admiration of negative space, that has led to an appreciation in the West of the minimalism seen in Asian art and perceived life style. Yohaku no bi is the aesthetic that influenced Japanese author, Marie Kondo’s book The Life-Changing Magic of Tidying Up (2011).” – Maureen Fitzmahan