TY - JOUR

T1 - Visual myths

AU - Walker, Stuart

PY - 2003/11

Y1 - 2003/11

N2 - The creative expression of the designer is based on two main aspects. The principle focus of the designer's mind during a project (that which is being designed) is the most obvious and the most readily explained. However, there is another aspect that is generally not acknowledged. This is the source from which the designer designs, and this 'tacit knowledge' contributes to the particular creative expression of a specific designer (or artist, author or poet).This paper explores ways of understanding and expressing these roots of creative design decisions. It seems that it is inappropriate and even impossible to analyse and explain the creative act. However, it is still important to gain some appreciation of the bases and meanings of our design judgements and aesthetic preferences. Only by doing so can we hope to develop and evolve our ideas and understandings. Therefore, rather than attempting to employ analytical techniques or offer a rational explanation of this more hidden creative aspect, the argument is made for a more intuitive, impressionistic approach. The approach introduced and exemplified here, which is itself based in the creative process, is the 'visual myth'. The visual myth is, at one level, a created fiction but at a deeper level begins to reveal an impression of the roots of the original design thinking.

AB - The creative expression of the designer is based on two main aspects. The principle focus of the designer's mind during a project (that which is being designed) is the most obvious and the most readily explained. However, there is another aspect that is generally not acknowledged. This is the source from which the designer designs, and this 'tacit knowledge' contributes to the particular creative expression of a specific designer (or artist, author or poet).This paper explores ways of understanding and expressing these roots of creative design decisions. It seems that it is inappropriate and even impossible to analyse and explain the creative act. However, it is still important to gain some appreciation of the bases and meanings of our design judgements and aesthetic preferences. Only by doing so can we hope to develop and evolve our ideas and understandings. Therefore, rather than attempting to employ analytical techniques or offer a rational explanation of this more hidden creative aspect, the argument is made for a more intuitive, impressionistic approach. The approach introduced and exemplified here, which is itself based in the creative process, is the 'visual myth'. The visual myth is, at one level, a created fiction but at a deeper level begins to reveal an impression of the roots of the original design thinking.

U2 - 10.2752/146069203789355291

DO - 10.2752/146069203789355291

M3 - Journal article

VL - 6

SP - 46

EP - 55

JO - The Design Journal

JF - The Design Journal

SN - 1756-3062

IS - 3

ER -