Images design for the blind Didactic material for visual disability children.
The main objective of this project is to contribute in the investigation for creation, enforcement, transformation of graphic design professional tasks in knowledge and abilities, in professionals training in the area of design of didactic material, whereby is necessary to change local and global answers.
In the design history, It is stated to map out for globalization, for humanity. Nowadays, the reflexion approach is for local culture, adequately, so that in a global way, it could be determined for different social and cultural levels. Therefore, the objective is to establish the where, which allows us to situate the space, the time, the environment and the context. The How is hold in values, from a knowledge of the local to a knowledge of the global. Local begins to get significance, order, balance, homogeneity of flows, where we can locate the approach of going to the values.
The research line to follow, is the relationship between graphic design and the special didactic education. The experience through twenty years of constant and permanent work, focused on perceptual image, haptic, non visual; with a first graphic proposal for this user ÒSymbology for blindÓ, the leading work of two degree seminars for Bachelors of the National School of Plastic Arts of the UNAM, with the subject ÒDidactic Material design for People with DisabilityÓ, and the numerous leading of Bachelor thesis in the area of graphic design with different titles, mostly focused in this work line where is reflected knowledge, feeling and thinking towards the demand of particular needs of graphic design, and society.
In this work I pretend to base and determine the integration of design language from the study of symbolic typologies, implying the search of the reality meanings and incites to the necessity of understand language and thought that responds to the haptic image perception, structured on a communication schema based on a net of meaningful meanings, also through descriptive- comparative methodology, wich is refer to the case study approach, analyzing the related and compared elements, and whith them make a material list of six companies with a different focus on the elaboration of didactic material, as well on material used by the ONCE (National Organization of Spanish Blind), classified on fifty two typologies, the one that is going to allow the construction of tactile images, where perception and interaction allow a conceptual development and that learning to children with visual disabilities to be significative, complete, with quality, in
order for graphic designers to open a door to the integration of this user to society in an early and natural way, so they can achieve a better understanding of their enviroment, context and reality, providing with this, for graphic design, one more option to the medium that is the image.
Recognize the problem, face it in order to create and develop a graphic proposal that favors a new knowledge and gives significant references for a particular population group, in this case, people with visual disabilities. Also, with practice, not only recognize the theoretical problem, but with applied theory, it could facilitate the creation of supports that determine the formation and development of their capacities. In their phisical capacity.
On the interaction with medium. On their psycholinguistic development, in the mental association: mnemonic + language. Therefore, the disability exist when someone has limited habilities with the senses, this is why the proposal of a tool to accomplish with this that they build the context of the reality.
It is said that you can judge a society because of the way they treat different people, because of their race, culture, language, gender, disability, among others.?Recent judicial laws and decisions confirm that people with disabilities, like any other citizens, have rights to the dispositions of opportunities equality.
Is important to begin with the difference. Design is the difference, is concept and at the same time perceptible form, visible, present. In the whole meaning. It has the possibility of integrate sensation, emotion with object and image; each have its own value, it integrates. The human is creator of symbols, through observation of integrated nature to the experience of life, this has allowed translate and create, from imagination and learning capacity, languages that has expressed in many human manifestations; in religi—n, art and science. Symbols, as an expression of emotive meanings, are what structures graphic language, as Jung is refered to it from its meaning and not only from it use, that is to say, the symbol as a constant in human history and culture.
The design, as a language, allows to represent conceptual contents through symbols as expression system based on conventions.! Words or images are the measure of an ideological content, that is, they are the symbols of reality, which needs to adopt a graphic form in order to
be exposed. Language is the vessel where wisdom is deposited and ancestral experience; design is the way in wich this content is presented, therefore design is liquid.
The mind is where the schemes of the images are kept. This schemes can be translated in concepts, that is to say, object is the result of the relation between subject and object, thanks to the mediation of the language and the ways to perform it. When a concrete thinking exists, they create images based on concepts. The capacity to know something gives alternatives of a better perception and a comprehensive picture, that is why humans have created signal systems to comunicate.
Language, as a signal system, is transparent, it stops being it to transform in a representation of things, is a mirror that reflects what it is. Language limits are world limits, that is to say, through language we can representate the world.
To design for the eyes is to design for the brain, the more complex organ and the one that rules all our activities and our behaviour. Eye and brain, they make everything. Images are formed in the brain and fingertips are the part of the body gifted with a lot of sensibility to ÒreadÓ the shape of the objects thanks to the touch. If immediate proofs of the importance that covers the mental projection of skin are required, it can be suffice to allege the potenciality of fingertips, whose receptors transmit stimulation up to the brain, through certain conductive substances. Through repetition or through learning, sensorial potentialities transform skills that allow carry out discriminations and give particular sense to different sensations.
Thus, a skill is a trained potentiality, and any human needs a learning to make subtle sensorial discrimination, as it is mentioned by Ashley Montagu in El sentido del tacto.
Images are language, logical statements reflect the world, they show it, what gives symbolic value, it is its conceptual part. Thus, smallest part of graphic language es the sign, and it is the doublŽ articulation that is made through the combination of an elemento on the plan expression (significant) wich relates with the elements of the plan of the contents(meaning), where appeared two faces, one of expression and the one of content. Understand that image is an expression vehicle and that the symbol is the way to accomplish communication, because it is narrative, is the sum of ideas and concepts. The study, analysis, evaluation of the design of didactic material for kids with visual disability, is the process of involving a person based on what can done and
not exclude him based on what canÕt. We shouldnÕt restrict ourselves to the evaluation in order to define disability.?We must focus on finding habilities. Evaluation is practically useless unless that leads to an action of a concrete instruction, treatment or any other intervention for the person with disability and then contribute to the design discipline a new paradigm that leads to the esfere of the design for everyone.
This new generation of images producers is related with graphic design. This is how history of visual arts is left on the hands of graphic artista, as a library of achievable forms and images where uses conceptual forms, that influence the thinking of graphic design and are shown in all its areas.