id4230 vcd group c - the visualisers assignment 1
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8/7/2019 ID4230 VCD Group C - The Visualisers Assignment 1
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VisualCommunicationDesignAssignment1
StijnJanmaat-1272659
JorisvanKruijssen-1312790
LisavanMastbergen-1329707
LarissaPlink-
TheVisualisers.wordpress.com
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Content
Chapter1PaintingC-3
Chapter1PosterD-4
Chapter2PaintingA-5
Chapter2PictureD-6
Chapter3PictureD-8
Chapter3PosterB-9
Chapter4PictureD-11
Chapter4PosterB-12
Chapter5PaintingA-14
Chapter5PaintingC-15
Chapter7PaintingA-17
Chapter7PaintingC-18
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Chapter1PaintingCMadonnaoftheHarpiesMadonnadelleArpieis
paintedin1517bya
Florentinepainternamed
AndreadelSarto.
Whenlookingatthis
paintingyoustartwith
lookingatfeatures,the
featuresstartbuilding
patternsandthepatterns
arebeingprocessedinthe
visualworkingmemory.Thisprocessiscalled
bottomup:the
informationdrivespattern
finding.
Atthesametimeyour
mindisprocessingwhatit
isseeing,theobjectsthat
aremostrelevantareheld
inthevisualworkingarea,andyourmindstarts
lookingfornewpatternsandfeatures.Thisiscalledtopdown:attentionprocesses
reinforcerelevantinformation.
Whenyoulookatthepaintingyoufirstseethecolours,thenyourmindmakesa
formoutofthat,whichisthepattern,andwhenitisheldinyourvisualworking
memoryyourecognizeitaspeople.Thenyoustartlookingbacktolookforpatterns
andfeaturesthatgivesyoumoreinformationaboutthepersons.
Forinstancethenextthingyoulookatistheshadesanddepth,yourmindmakesa
patternoutofthatandyouseethecomposition.Inyourvisualworkingmemory,youstartthinkingseeingthatthereare3personsofwhichthemidpersonisplaced
higherinthecomposition.Soyourmindstartslookingfornewpatternsandthan
featurestoseethatsheisstandingonapillar.
Yourmindisalreadyprocessingwhatitisseeingandcombiningitwithwhatyou
knowaboutwhatyouareseeing.Whyisthewomansospecialthatsheisstanding
onapillar?Thisquestioncanbelookedatasproblemsolving,thisproblemsolving
leadstoeyemovementandnewpatternfinding.
Whenyouwonderwhysheisstandingonapillar,youstartnoticingtheangels,the
aureoles,thecrossandthebooks.Withoutanexplanationornameaboutthepainting,afteronlyafewsecondsyourmindhadalreadyprocessedwhatthepicture
standsfor,whotheyare,whattheyaredoing,andsoon.
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Chapter1-PosterBGrapus2
Inthepreviouspicturethefirstthingyouseeiscolour.Inthispicturethefirstthing
youseeistheshape.Theshapeismoredominantinthispicturethanthecolour,
becauseoverallthepictureismoreorganizedandhasfewerelementsthanthe
painting.
Whenyouseetheshapes,andstartmakingapattern,youseethattheballinthe
middleistheearth.Nextyouseethecolourunderneaththeearthandtwoarrow
shapedcompositions.Whenyourmindstartsmakingapattern,thearrowshaped
compositionsbecomesagroupofplains,shipsandbombs.Inyourvisualworking
memorythesefiguresareprocessedandyoucanconcludethatthispictureshows
theearthunderattack.
Thecombinationofwhatyouseeandwhatyourmindknowsaboutwhatyouare
seeingmakesyouevenmorecurioustofindmoreinformationaboutthesupposed
upcomingattack.Soyourmindstartsthetopdown,bottomupprocessandfindsthe
colouredshapetosaythattherewillbeademonstrationaboutnuclearweapons.
Asyourmindisprocessingtheentireposter,asalastelementitwillprocessthe
featuresofthebackground,theshapesandcoloursthatareprocessedintothe
shapeoftheeiffeltowerandthusParis.
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Chapter2PaintingAFishingboatsonthebeach
atLesSaintesMariesdelaMer
Inthepaintingtheretheattentionisverymuchdrawntowardstheclosestboat.
Mostlyusingmuchbrightercoloursthenintherestofthescenedoesthis.
Moreover,thelinesofthefirstboatareveryneatandformdistinctiveplanesthat
havecontrastwithneighbouringplanes.
Thesky,seaandbeacharepaintedquitesmudgyandblurryinamuchlessbright
colourastheboats(onthebeach).
Theboatsontheseaseemtobelongmoretotheseathentotheboatsontheshore.
Theyarefarawayandblendintotheenvironment.Thisisdonebycoloursaturation
butalsothesuggestionofwind,whichseemstoflowthroughtheairdisplayedby
thebrushstrokes.
TherearetwodirectionalcuestobefoundwhichvanGoghusedtoguidetheviewer.
Whentheclosestboatistheinitialviewpoint,theviewerseyeisdirectedfromboat
toboat,furtherawaybydesaturatingcoloursandplacingtheboatsinanarc,away
fromtheshore.Theboomsoftheboats,whichpointtothesea,aidthisglobal
viewingdirectionandtheboatshullsalsoareoriented(althoughwiththeback)
towardsthesea.
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Thesecondcueisthedirectionofbrushstrokesabovetheboatsontheshore.They
formanarcaroundtheintendedcentreofattentionandcontributetotheattracting
effect.
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Chapter2PictureDInnocent2
InthiscommercialphotographforInnocentsmoothiestheirgoalistocommunicate
theirbrandimage.Thepictureattractsattentiontocertainaspectsoftheimageby
usingsomechanneldifferences.Thetwomaincomponentsofthispicturearethe
pileoffruitandthesmoothiebottle.Theystandoutfromthegreengrassbycolour
andbecausethegrasshasnonoticeablestructureandisblurryandchaotic,even
wherethegrassisnotactuallyblurred.
Thetwomaincomponentsareintentionallydepictedinapproximatelythesame
size.Theyarepresentedasequals.
HorizontalWhatpathway
VerticalWherepathway
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Thispicturecomesacrossasaverynaturalpicture.Thereisdepthtobeidentified,
proportionsarecorrect,colorsarenaturalandenvironmentisreal.Theobjects
demandingattentionarethereforeregardedbyourWhatandWherepathwaysto
identifythem.ThesizeanddistanceisdeterminedbyourWherepathway(vertical
direction)guidedbytheblurrinessofthegrassandtrees.Inthestripthatissharp,
objectsofinterestareidentifiedthroughtheWhatpathway(horizontaldirection).
Theseobjectsareperceivedasimportantbecausetheyaresharpandwhenlooking
atthemtheblurrinessoftherestofthepicturecorrespondswithreality.
Thedesignertookeyemovementacrossthispictureinconsideration.Startingpoint
willbeoneofthepop-outobjects.Theplacementofthefruitontheleftandbottle
ontherightindicatestheirdependency:thesmoothieismadefromfruitandisa
resultofthefruit.IntheWesternworldwereadfromlefttoright,sotheviewergets
ahintofthefruitandsmoothiesrelation.
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outonthetopandbottomofthepicture(indicatedbythearrows).Thisputsthe
emphasisonthelowercentreofthepicture;theareawherethefruitpileandthe
bottleareplaced.
Thefruitpileismadeoutofdifferenttypesoffruitelements.Alltheseelements
togetherformaparticularshape;theycreateapatternbecauseofthespatiallayoutoftheshapeoftheelements.Thebrainwillindicateitasoneshape.Thepatterncan
beindicatedasatriangle.Inthispicturetherearenooverlappingregionsthatcould
confusethings.Thiskeepsthepicturesimpleandeasiertoapprehend.
Theviewerofthispicturewillindicatethesemanticrelationshipbetweenthefruit
pileandthejuicebottle.Standingnexttoeachotheritwillindicatethereisa
connection.Itsymbolisesthatthepileoffruitisprocessedinthebottleofjuice.The
viewercouldalsointerpretthatnothingisaddedtothejuice,becausethereisjust
onebigpileoffruitnexttotthebottle.Otherwisethemanufacturerprobably
wouldntputtheemphasisonthisquality.
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Chapter3PosterBGrapus2
Thisposterconsistsoutoffourmainelements:theplanetearth,anannouncement,
themilitarysymbolsandthebackground.Forthepattern-processingsysteminthe
brains,thisposterisquiteunderstandable.Thissystemislookingforboundariesofobjects,alsomentionedascontours.Theobjectsinthisposterarereallywell
distinguishedfromthebackground.Differentfeaturesdothis.
Thefirstfeaturethatmakesalltheobjectsstandoutfromthebackgroundisthe
differenceinblur.Thebackgroundisvagueandblurrycomparedtotheother
objects.Theotherobjectsarenotblurryatallandthismakesthempopoutofthe
background.
Theannouncementinthisposterstandsoutthemostofallobjects,despitethefact
thatitisabitcoveredbytheplanetobject.Themainreasonforthatistheuseof
colour.Thecompleteposterisinblackandwhite,exceptforthisannouncement.
Thedesignerdidthisonpurpose.Itcreatesabigdistinguishfromtherestanditwill
bethefirstthingthatpullstheattentionoftheviewer.Itisverylikelythatthisobject
isthemostimportantoneoftheposter.Itcarriesalltherequiredinformationabout
aspecificevent.
Themilitarysymbolsstandout.Notassinglesymbols,butasabasicshape.Together
theyformapattern.Onecanseethisevenbetterfromadistanceorwiththeeyes
halfshut.Thespatiallayoutoftheshapeswillmakethemperceiveasoneshape.
Theyclearlyshapethecontourofanarrowonbothsidesoftheposter.Thisis
probablythefirstthingthattheviewerwillnotice,thearrowshape.Withacloserlook,theviewerwillindicatethatthisarrowconsistsoutofsymbols,military
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symbols.Theshapedarrowisevenmoreemphasizedwiththesesymbols,because
thesesymbolspointinthesamedirectionasthecompletearrowcontourdoes.
Thesetwoarrowshavemultiplemeanings.Thefirstsemanticmeaningisthatthe
twoarrowspointingtothemiddleputafocusonsomething.Theyemphasizethat
thevitalinformationisinthemiddleoftheposter,theycommunicate:Thisiswhatitsallabout.
Thesymbolsthatshapethesearrowsalsohaveameaning.Theannouncedeventis
aboutdisarmament.Thatiswhythedesignerpickedthesesymbols.The
unconsciouslytellsomethingaboutthesubjectoftheposter.
Thecombinationoftheblurandcolourdifferenceandthesemanticmeaningofthe
arrows,makeitaveryclearandpowerfulposter.Itmakesuseofthepattern-
processingsystemandthepermeationofourspokenlanguage(thesemantic
meaningofthearrows).
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Chapter4PictureDInnocent2
Thisisanadvertisementforinnocentsmoothies.Theyobviouslytriedtoputthe
focusonthebottleandthelittlemountainoffruit.Ifweevaluatethepictureon
colourthereareacoupleofaspectsthatstandout.
Saturation-Atfirstweseetheuseofsaturation.Thecoloursforthebackgroundare
dark,sonotsaturating.Thebackgrounddoesntmatterfortheadvertisement.Itis
alsoveryblurryjustlikethebeginningofthegrassattheforeground,whatmakesit
thatthosetwoareasdonotcatchattention.
Inthegrassinthemiddlethereismoredetail,andthecoloursaremoresaturated
thenthelittlefruitmountain.Thecoloursareverystrongsaturating;thisistheway
thismountaingetsattention.
Unfortunatelythecolourofthejuiceinthebottleisntverysaturating,resultingthat
thefruitsgetmoreattentionthanthebottle.Whichshouldgettheattention,
becausethisistheproducttheywanttosell.
Contrast-Contrastsarentabigissueforthisposter.Therearealotofdifferent
tonesofgreen,allverycloselytoeachother.Thegrapes,bananasandstrawberries
showthiscontrastalittle.Butthroughtheyellowflowersinthegrassthiscontrastislessnoticeable.
Afternoticingallthiswecanlookatthegreyscaleimage;theredstrawberrieshave
almostthesametoneasthegrass,thesamethingforthecolourofthejuice.Thatis
athingwecantchange.Thebestthingistomakethegrassadifferenttoneof
green.
Thecontrastisusedwellonthebottle,theinnocentlogostandsoutonitswhite
background.Thelitofthebottleisverynicelycontrastingtothedarkbackground.
Anadviceforthisposterwillbetomakethegrasslessrestless,byuseoflessgreentones.
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Depth-Thedepthinthispictureismadethoughblurring.Thefrontgrassstrokeand
thebackgroundareblurred,sothefocuslaysonthemiddlestrokeofthepicture.
Shadingtomakethedepthstrongerisusedbyaddingadropshadowtothebottle.
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Chapter4PosterBGrapus2
On22Octoberin1983peoplestoodupanddemonstratedfornucleardisarmament.
ThisposterisanadvertisementforwalkfordisarmamentinParisatthePlacede
JeanJaurslaruedelaPaix.
Contrast-Contrastisabigissueonthisposterandcanbenoticedindifferentpartsofit.Atfirsttheticketinthemiddlestandsout.Thisisbecausethewholeposterisin
greyscale,exceptfromthisticket.
Withinthisonlyprimarycoloursandblackandwhiteareused.Thetextsonthe
ticketarewrittenonstrongsaturatingbackgrounds.Whiteagainstaredbackground,
blackagainstayellowbackgroundandyellowagainstabluebackgroundare
examplesofsharpcontrasts,whicharewellusedonthisposter.Thismakesthetexts
legible.
Depth-Theticketisnottheonlyaspectthatcomesintotheeye.Theglobepopsup
too.Notonlythroughalittletouchofcolour,blueandabrownish/orangecanbe
spotted,butalsobyputtingitpartlyinfrontoftheticket.Thisblackbottomofthe
globecontrastsagainstthered/yellowtopoftheticket,whichcreatesdepthinthe
picture.Depthcouldbedepictedwellbyshading.Nowbothitemsarefreestanding
fromthebackground,thelookisalikeacollage.
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Thisisanotherexampleoftheposter.Thereismuchmoregoingonhere.Oratleast
itlookslikethereis.Thispostershowsusafriendlierversionoftheposter.The
greyscaleairplanesandboatsareexchangedforcolouredflowers.Theworldhas
alsomorecolours.Thispostershowsusabetterworld.Asthedemonstratingpeople
wanttheirworldtobe.Themottobehindthisposteris:Iftheworlddoesntperish,
itwillblossom.
Alongwiththispresenceofmorecolouredisanattentionfactor.Theticketdoesnt
standoutanymore.Theforegroundimagesaremuchmoresharpenedtoo.The
backgroundbecomesvague.
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Chapter5-PaintingAFishingboatsonthebeach
atLesSaintesMariesdelaMer
Inthepaintingthereareseveraldepthcuestobeidentified.Sinceitisapicture,they
aremerepictorialdepthcues.Iwilldiscusstheapplieddepthcuesinorderof
strength.
Occlusion-Thelineofboatsontheshoregeneratesagreatsenseofdepth.They
partiallyoccludeoneanotherandthisfixesthewaytheseaandbeachshouldbe
seen.Withouttheboatsthebeachandshorewouldbetoouniformandnotdetailed
enoughtoogiveasenseofdepth:toofewdepthcues.
Perspective-Thereisaclearsizegradientintheboatsontheshoreandonthesea.
Texturegradientsarehardertoidentify,buttheyellowishspotsonthebeachup
closedisappeargraduallyandthebeachbecomesauniformcolour.Thisdetailing
playsasmallpartinperceptionofdepthinthispainting.
Linearperspectiveisnotreallypresent.Therearesomelinestobedrawnacrossthe
frontandendpointsoftheboatsontheshore(seepicture),assumingtheboatsare
thesamesize.Buttheydonotcreateavanishingpoint,solinearperspectivedoes
notplayaroleasadepthcueinthispainting.
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Castshadows-Thereareremarkablyfewshadowsandreflections.Onlythe
foremostboathasabitdarkerbrownsandunderitshull,butthiscouldverywellbe
thedarkersandthatwasbroughttothesurfacewhentheshipwasdraggedonthe
shore.
Heightonpictureplane-Thisisanobviouslypresentdepthcue:alltheboatsareinrelationofoneanotherinheightandsize.
Shading-Thedownwardfacingpartsoftheshipshullsontheshorearequitedark.
Especiallythesecondandthirdintherowhaveadarkerbottom.Butingeneral,itis
prettymuchunutilized.
Referencetonearbyknownobjects-Theboatsareasizethatcanbeeasily
estimatedbyhumans.
Degreeofcontrast-Thiscanbenoticedattheboats.Thebackmostboatsonthesea
arepaintedinfarlesssaturatedcolors.Astheboatsappearcloser,theusedpaintgetsbrighterandmorecolorful.
Inconclusion,theminimaluseofshadowsmakeitabitflatpictureatfirstsight.The
niceperspectiveoftheboatmakethempopout,buttherestisdeliberatelyvague
andfacilitatingthepresenceoftheboatsontheshore.Theblurryenvironmentisto
makepeoplewanderaboutthemeaninganddreamofthepainting:whatcouldbe,
whatcouldhappeniftheshipsreachtherightendofthepainting?Wheredothey
go?
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Chapter5-PaintingCMadonnaoftheHarpies
Inthepaintingthereareseveralpictorialdepthcuestobeidentified.
Occlusion-Thereissomeocclusionoccurringwithineachofthe3mainfigures
(handsholdingbooksandcrosses),butthefiguresdonotoverlaponeanother.They
areatthesamedistancefromtheviewer.TheHarpieshalfoccludedbythepedestal
andtheMadonnagivethelatterabeautifulsenseofdepth.
Perspective-Thereisaverysmallperspectivetobeidentified(greylines),butthisit
doesntreallyplayaroleindepthperceptioninthispainting.
Castshadows-Therearequitesomecastshadowsthatdeterminetheplaceinthe
environment.Allfigureshaveshadowsonthefloorandthebackwall.
Heightonpictureplane-Theheightofthefiguresisindicativefortheirimportance,
notthedepth.Theyareapproximatelythesamedistancefromtheviewer.
Shading-Thisisextremelyimportantintheperceptionoftheshapeoftheclothing.
Allthefoldsintherobesmakeitalmosttouchable.Alsothechildinthearmsof
Madonnagetsvolumebecauseofthedetailedshading.
Referencetonearbyknownobjects-Humanssizesarewellknown,sowecan
easilydeterminethescale.
Degreeofcontrast-Thisdepthcueisnotpresent.
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Inthisclassicalmedievalpaintingdepthistreatedverylocally.Therelativedistance
ofthefiguresanddistancetotheviewerisnotreallyimportant.Theyaretogether,
becausetheytellastorytogether.Depthwithinfiguresisimportantandisrealized
byalotofshading,shadowsandsomeocclusion.Butocclusionishandledwithcare,
becausethestorycannotsufferfromunclarity.Anoften-usedtechniqueisthelightly
paintedknees,whichreallycomeforward.Theyprovideperceptualinformation
aboutthepostureandmakethewholefiguredynamic.
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Chapter7PaintingAFishingboatsonthebeach
atLesSaintesMariesdelaMer
Atfirstsightthispaintingdoesnthavemuchverbalnarrativeaspectsthroughits
visuals.Thepainterdidnottrytocommunicateamessagewiththispainting.It
describesaviewofaspecificlandscape.
Anaspectthatispresentinthispaintingistheuseofitsstillimagestoexpressa
dynamicsituation.Thepaintingis,ofcourse,notmoving,buttheviewercan
understandthatthedescribedsituationisnotstaticinreallife.Thisunderstanding
comesfromdifferentaspectsinthepainting.
AsColinWarestatesinVisualThinkingforDesign:Inasense,thebrainisconstantly
makingpredictionsaboutthestateoftheworldthatwillfollowfromactionssuchas
eyeorhandmovements.Thevisualsinthepaintingsupportthelogicalrelationships
thatarepresent.
Theobviousbrushstrokesthatarepresentintheskyemphasizethemovementof
theair.Thesestrokescreateapatternandcolourdifference.Thebrainwillmakea
predictionthatthisairisprobablyinmovement.
Areactiononthiswindblowingisthesailsoftheboats.Thefirsttwosailingboatsareclearlyinmovement.Theviewergetsthismessage,itcanbeseenthatthesails
arefilledwithwind,becausetheyarecurved.
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Itisalsocleartotheviewerofthepaintingthattheseaisnotstatic,butthatitis
moving.Thedynamicsofthewavescanbeabstractedfromthestyleofpainting.
Thepatternofthewaves,thealignmentofthebreakersimplicatesthatonewaveis
comingafteranother.Thestrokesusedtomakethesewavesamplifythedynamics.
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Chapter7-PaintingCMadonnaoftheHarpies
Obviouslythisareligionrelatedpainting.ItshowstheVirginholdingachild,flanked
bytwoangels.Nexttotheseangelsaretwosaints.
Thepaintingshowsanobvioushierarchystructure,apyramidshape.Thevirginand
thechildarethehighestinhierarchy,thatsalsothereasonwhytheyareplacedona
pedestal.Thesaintstakesecondplaceandtheangelscomeafterthem.
Inthepaintingthreeaspectswithlearnedsymbolicvaluecanbeindicated.Themost
knownoneisthecrossthattheleftsaintisholding.Theassociationthatpeoplehavewiththissymbolisareligiousone,Christianity.Itreferstothebiblestorywhere
Jesuswasnailedtothecross.
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Anotherlearnedsymbolarethehalosthatareabovetheheadsofthepersonsin
thepicture.Thehaloindicatesthatthepersonsareholy.Incurrentsocietythis
symbolismostusedwhenangelsaredepicted.Itisalsousedincartoonsandother
drawings,inasometimes-exaggeratedway,toshowthatapersoniscompletely
honestandtrue.
Thewingsoftheangelsinthepaintingalsohaveasymbolicvalue.Peopleareableto
indicateadrawnpersonwithwingsasanangelorsomebodythathaspassedaway.
Itreferstoahigherpowerandthehereafter.
Somedeicticgesturesinthepaintingarequiteobvious.Thebabyisgrabbingthe
virginaroundherneck.Thiswaythebabyshowsitsdevotiontothevirgin.Itwants
tobenurturedandprotectedbyher.
Thevirginholdsthebaby;sheistakingcareofit.Shelooksdowntothebibleofthe
rightsaint,butnotwithgreatinterest.
Theleftsaintisturnedtothevirgin.Healsoshowshisdevotion,butinadifferent
waythanthebaby.Holdingthecross,heprobablywantstopraiseorblessher.
Therightsaintlooksrealcalmandself-assured,likehehasthingsundercontrol.It
shouldlooklikehehislecturingthevirginfromtheholybible.
Theangelsholdingthevirginhaveadesperateandinsecurelook.Thereasonforthis
gestureisnotclear(tous).
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