Illustrator Noma Bar simplistically captures a scene of 'mourning the hippy dream' in this work. The use of only one colour with the negative white space creates the basic shape of a van on the road. In addition, simply adding two tear shapes underneath the headlights produces a deeper story to the visual.
In fashion graphical sequence can be seen in the designed system of consistent style for brands and their collections. This image of the Burbery A/W 2014 show illustrates how a certain pallet of colours, fabrics and styles have been chosen and used throughout a collection. There are variations of designs throughout but there is a recognisable pattern as a group collective that keep the individual designs in sequence with each other.
A deck of cards illustrates sequence in product design as there is always a known order for the pack to be in. The images on the cards gradually become more detailed as the ranked order becomes higher as do the sequence of numbers becoming counting higher and progressing into titles.
Many book designs of Paul Rand illustrate constrained visual language as he uses clean shapes to communicate the intended representation. This particular page spread depicts this with its colour pallet, limited to a few bright and bold, block colours and a newspaper pattern. The use of repetition with the red and the newspaper allow the visual to stay consistent. Consistency is also seen with the cut out, 'choppy' style of shape lines, adding to the simplicity of the visual.
The Guggenheim Museum in New York designed by Frank Lloyd Wright demonstrates sequence as the space spirals from floor to ceiling, creating a pathway from people to walk and view artworks in set out sequence.
The interior design for restaurant 'Kitchen by Mike' Sydney illustrates sequence as it has been purposely designed to accommodate the movement of people in a cafeteria style. The spacial design directs customers to begin a process of lining up, choosing, purchasing and finally sitting to eat.
The interior design titled Sequence (2006) by Richard Serra illustrates sequence as he has created a fluid, maze-like space. The metal sculpture directs people to follow the created paths and sequentially view the art.
This film poster by Saul Bass demonstrates graphic sequence as there is a sense of movement created. This is achieved as the main image of a man lying flat morphs into stairs and eventually to another man climbing the top of the stairs. The image also adjusting in size from large to small also conveys movement, change and thus sequence.
The London Underground Tube map demonstrates constrained visual language as it is a schematic map that does not display the exact geographic details but alludes to them. If designed geographically the train lines would be more complicated than the succinct lines. The added variations of colour also convey the varying routes. The design is thus extremely simplified to communicate quickly and effectively.
This film poster by Victor Hertz is a constrained visual as he has used a pictorgraphic design. The clouds and plane in the design have been simplified to basic shapes so that even without the complicated details of an actual plane in sky the viewer can still tell that that is what they are seeing.