Invisible design

Even in a medium made up pri­ma­rily of texts, graphic lan­guage is neces­sary. It is res­pon­si­ble for the per­fect com­mu­ni­ca­tion between mes­sage con­tent and its audience.

The seve­ral buil­ding sta­ges of a visual image have, for some time now, been stu­died by psy­cho­lo­gists, and their opi­nion is una­ni­mous: sight is not a per­cep­tion based on iner­tia, a recep­tion of exter­nal objects and forms impo­sing them­sel­ves col­lec­ti­vely onto pas­sive visual cells.

Such syna­esthe­tic subli­mi­nal com­mu­ni­ca­tion which rea­ches our eyes through colors, types, graphic sha­pes and sty­les may be cal­led invi­si­ble design.

The sys­tem which cap­tu­res pho­tons is undoub­te­dly neces­sary, but it is not enough to con­vey a pic­ture of what is around us. To com­plete the pro­cess, there has to be brain acti­vity tur­ning impli­cit infor­ma­tion into expli­cit data, an ope­ra­tion con­ver­ting elec­tri­cal dis­char­ges into cohe­rent images.

Objects and forms do not reach us as such, they are recog­ni­zed and recons­truc­ted by our brain, equip­ped as it is with the abi­lity to analyze, synthe­size and rank. It is not the eyes, but the brain that sees.

But how does the brain build an image, the image of what it beli­e­ves to be there though it actu­ally isn’t?

It seems two sta­ges are invol­ved in that pro­cess. On the one hand, there is a sym­bo­li­cal inter­pre­ta­tion evol­ving into ever more com­plex levels; on the other, there is a com­pa­ri­son to what is per­cei­ved as reality.

An ove­rall image is built in con­se­cu­tive sta­ges towards more com­prehen­sive levels of inte­gra­tion, which then pro­vide a full visual image.

An impres­sion, sym­bo­li­za­tion, a com­pa­ri­son, a per­cep­tion, and new sym­bo­li­za­ti­ons in an ever growing degree of com­ple­xity. These are the main sta­ges of brain acti­vity invol­ved in image cre­a­tion. In this col­lec­tive inte­gra­tion, the whole is more sig­ni­fi­cant than its cons­ti­tu­ent parts.

Our sight implies ope­ra­ti­ons of analy­sis, recog­ni­tion, and rein­te­gra­tion to a well-known setting.

Such syna­esthe­tic subli­mi­nal com­mu­ni­ca­tion which rea­ches our eyes through colors, types, graphic sha­pes and sty­les may be cal­led invi­si­ble design.

That bla­tan­tly graphic lan­guage of invi­si­ble design can be con­si­de­red one of the main inte­gral com­po­nents in buil­ding and relaying messages.

That is exac­tly why, in a medium made up pri­ma­rily of texts, graphic lan­guage is neces­sary. It is res­pon­si­ble for the per­fect com­mu­ni­ca­tion between mes­sage con­tent and its audience.

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