Simplicity Descriptive
Simplicity at best.  Design is unique to the character of the soul.  Design is specific to change and demands maintenance so that it does not sober with time. The point of design is to give the impression, to demand the intent, and to gravitate towards a focal understanding.
As a social media, design is used to give the meaning of the product and the manufacturer simultaneously. Design is easy to implement, character and interpretation requires craft as well as skill. The artist must be the judge for the level of interpretation based upon the demands of the design which are outlined through focal or structural management cues prior to the dictatorship elicited by the artist.
Design as an art form carries weight in the respect that art translates through linguistic barriers. Visually art rather than audio can sometimes be interpreted as a stronger media. A more forceful media.  More forceful in the respect that visual media even though an implied media, has no fluency in nature, like sound. It either exists or it does not exist. It has a definitive end as well as a definitive beginning. Reason why this statement is factual:Visual Media is a responsibility. Once constructed, its interpretive nature is there, it is already in progress, it is not lucid, it is a tangible, whether misplaced or ill-placed. Visual media as a land mark for creationism does not serve a dual function of sifting into aerial space and becoming lost.  Lost in the respect that it was never there. The functionality no matter what the designs creative details harbor, still has the same command cues that the artist intended, or in some interpretive art forms did not intend.  For categorical reference visual media can be interpreted as command cues.
The function of Visual Media is that the interpreted arts are solid.  They can be moved or displaced outside of their whole, without a loss in translation.  A physical translation, or a movement of the design, unlike sound, does not bear actual levity in the original form.  The notion that an affixed object loses it's gratuitous matter when physically displaced from its original content is only an implied knowledge in that the work, specific to itself can be altered or manipulated.  This is not always true. The work, a solid design or form of visual media does not lose or lessen influence or change contextually. Beta translations or phonics resemble the same interpretative function as visual media. Not to be misconstrued with “literal interpretative phobia”, or affixed with the notion of a strong design discourages interpretation. Rather, that a strong design might still insight the viewer to carry on a chord of literal understanding in a manner cohesive and without challenge from the original visual media.  Despite an obvious cue for the alter ego of the artist, the implied knowledge must always cater to the viewer. Furthermore, visual media is a protected craft in that it entails maturity, in that it is still an interpretative art.  Interpretative in the respect that the viewer will always be significant in their ability to decipher beta recognition and visual cues which is a timeless art. Translated historically visual media without discord, or loss of gratuitous matter has never left its brevity of spatial time or influence, because it can not.  It exists, it is still there, and it is only meant for interpreting. Whether or not the meaning gets lost in translation is insignificant. For the balance of exchange is a literal one.  
Mathematically, art is a stringent corner mark for creation.  Art comes first.  The science of mathematical logic is a secondary offset to creation, whether spontaneous or planned.  In this respect, mathematical understanding is based upon the interpretive logic of design.  The cues and functions of math can not change and do not change because they are contingent upon replicating, or stimulating, a design that has already been manifested.   The design as a whole has a base or primitive cellular structure, in which all connective linkages outline, and dis-align themselves from the whole. Stringent in its approach to design, the key to understanding the simile of math is that there is an unforeseen equation that is structured around the defeat of the original design. The science or logic once it hits an end decimal, should not be misconstrued with, dis-leveling the structural mathematical interpretation.  The end is indeed the final point of understanding for the specific equation placed in front of the viewer. Key indications of understanding, is not interpretive in the respect of the viewer. The end decimal is a levying approach for completion and progression. Progressive exchange of information is catered to in many cases without a defined meaning other than its conclusion, when its gratuitous weight has left the platform.  With key connective links to duplicate designs, math can always be a tangible corner mark for design with a definitive end.  A definitive end which winks and nods at the corner stones for exchange of interpretive design. Math, with all its complexities and exchange of norms, are specific to a rule of understanding. The duplicative efforts of design can never come to pause for one factual reason, they are in simile to its original content. In that I mean the original content can be, or can not be outside the mathematical equations that we use to understand weight, space, and time. There unity or disunity to each other is the only tangible format to obtain in that the parameters for exchange of information has changed.  Art in and of itself is a solid.  It either exists or it does not.  Reputedly, it does not lose weight for its original content. Original content is an interpretive art, it can be deemed good or ill-purposed.  Original content has a bias for catering to an offset or a demand. The viewer is privy to interpretive logic so long as the literal, intended, actual creation, has an end decimal, and an concluding parameter. Inside or outside the functional parameters the duplicative nature of mathematical stimuli always entertain a notion of categorizing, implementing, re-detailing, re-evaluating, self realization, and a corner mark interpretative key decimal which concludes the brevity, or the necessity rather, of passing beta exchange or phonic interpretive visual commands in a manner unintended as anything other than interpretative art.  
Design is unique to the soul.  Simplicity at best is the corner marks for a sound platform of exchange of ideas, notions, implications, and interpretations. The gratuitous weight outshines the intermediate, and creates a conglomerate whole. Simile in shape and design.  Visual media combines forces to translate knowledge or an exchange of information to viewers of multiple levels. Demographically, design and visual media does not have an influx.  The design or Visual Media’s original content is there, it does not change.  An impression is an impression.  If the impression has gratuitous weight, give gravity its proper place, and celebrate the achievements of a good piece of art.  Whether simple or complex, design is an outlet for the soul, and if there is no place for the soul to go, but on paper, lets witness the timeless art form of sitting and starring, and waiting for awhile.  The decimal is there, the exchange is there. The Design functions. Go have a cup of mocha. 
  Mathematical Exchange
q= 7/x
Speed, Time and Distance:
Speed =Distance/ Time =Distance,
Time= Distance/Speed
Distance = (Speed x Time)
The speed of light is 299,792,458 meters per second - in a vacuum or 186,282 miles per second in a vacuum.
Area of Triangle
area = (1/2) · b · h
Area of a Square
area = s2
Formula for Acceleration
a = F/m
Formula for Force
The formula of the kineticenergy of an object is E=0.5*m*v^2 E=kineticenergy [J] m=mass [kg] v=velocity [m/s]