Perception- Chapter 3

We have a catalog in our brains that filters the information.

How the eye sees and the brain organizes to give meaning.

Big Idea- Purposeful use to create meaningful designs

Simplicity

Gestalt Psychologist’s Basic Law of Visual Perception

“Any stimulus pattern tends to be seen as a structure as simple as conditions permit”

Principle of Parsimony- simplest explanation

Interpretations

Semiotics- study of influences on our perception Icon- the thing it represents Symbol- culturally accepted meaning Index- visual we have learned to associate

with a particular meaning

Figure and Ground

What is the object and what is the background?

Figure and Ground-Categories

Stable Reversible Ambiguous

Figure and Ground-Conditions

Enclosed area Textured area Convex Simplicity Familiarity Lower Half (gravity) Black tendency

Shape

Design is the arrangement of shape.

Must see the shape not the object it creates.

Shape not Subject Matter.

Shape Versus Volume

Shape is the area created by an enclosing boundary (line, color, value change)

2-D artwork

Volume is 3-D Using Shape to create Volume illusion

Grouping Shapes

Shapes affected by surrounding shapes Begin to understand by identifying overall

pattern Tend to recall letters if grouped in words. Group marks into recognizable/repeating

shapes is the simplest way to perceive

Shape versus Subject

A shape can bring unity where there is none.

Repeat a shape to bring order

Letterform Shapes

Counter Serif Type Size X-height Ascender

Descender Typeface Font Baseline Stress

Typeface Typeface

Dynamic Balance- Chapter 4

Text and Images are intentionally placed to direct the viewers eye and to achieve visual unity

How do we get them to look at what we want and see the connections?

Intellectual vs. Visual Unity

“One is thinking of subject matter (intellectual unity); the other is looking at the design (visual unity).”

Intellectual is idea and word Visual is placement for the eye

Ideally work together to create the message.

Visual Dynamics

Top to bottom – comfort of gravity Vertical and Horizontal- comfort in stability

(diagonal lines- dynamic flux) Left to right- comfort in reading

Balance

“Successful communication requires balance, the directing and conducting of visual tensions.”

Equal tension created by all elements pulling equally

Symmetry and Asymmetry

Symmetry

Traditional balance thru mirrored images left to right

The traditional book Good is looking for a

“quiet sense of order”, tradition and stability.

Asymmetry

Balance thru contrast Visual Weight-

dominance of an object

Visual Direction- way the eye is drawn between elements

Weight and Direction Influences

Location Spatial Depth Size Texture Isolation

Subject matter Value Shape Structure Color

Good Gestalt- Chapter 5

Whole is the sum of its parts Each part is influenced by those around it. The eye seeks to create a whole

Similarity Proximity Continuation Closure Figure and Ground

Using Text Type- Chapter 6

How do you select type? 6 characteristics Above all else, the audience must be able

to read it!

Type Characteristics

SizeMeasured in pica or points- 72 points in an

inch… 12 points in a pica… 6 picas per inchComputer screen can be deceptivePrinted proof to see actual sizeWeb design should be judged on a screen

Type Characteristics cont.

Line LengthMeasured in picaFlow to fill predetermined column

StyleLegibility prime concernEither stick to one type family or they need to

be very different

Type Characteristics cont.

LeadingVertical Space between linesReadability concerns

SpacingKerning- space between lettersWord Spacing

Type Characteristics cont.

FormatJustified-all lines same lengthUnjustified- flush left or right, center and

asymmetrical Style and Content

Visual toneAffects image of client

Type Characteristics Examined

Type Type Type Type Type Type

Type Type Type Type Type Type

Type Design

Type Design

Layout- Chapter 7

Balancing Act Diverse Elements of the Design that

communicates and looks good Every element affects how the others are

perceived

Size and Proportion Organization of several things into a

relationship (size, quantity, or degree)

Visual Rhythm

Repetition of shapes, values, colors, and textures

Life is rhythm

Grid Layout

Grids provide order, but are flexible Choosing a grid

Elements- CopyArt- Photos

Path Layout

No grid Designer visualizes elements on blank

sheet of paper Unity relies on Unit Forming

Focal PointClear Path to next element

Photo Layout

Dynamic photos, strong in design and human interestCropping-focus and dramaResizing- ratioSelecting- Quality, Merit,

Strength

Multi-panel Design

Brochure is a 3-D design

Each unfolding present new facet of design1st panel- lureBuild interest / themeMailer

Dynamics of Color- Chapter 8

Color Wheel

Properties of Color

Hue- name for the color Value- degree of light/dark Intensity or Saturation- purity and

brightness

Psychology of Color

Colors evoke specific emotional responses (personal or universal)

Warm – Stimulate Cool- Relax

Psychology of Color

Associations- personal and cultural Red- aggressive, sexual, national color

Example- sports car Blue- authoritative (darker), cleanliness and honesty

(middle), overall calming color Example- power blue suit

Yellow- warmth, good health and optimism… (in the past-weakness and cowardliness)

Example- food packaging Green- natural, environment, soothing and cooling

Example- cigarettes

Selecting Color

Cultural Color Associations The profile of the audience and its color

preference The character and personality of the

organization presented The designers personal relationship to the color An awareness of current color trends

Understanding Electronic Color

RGB vs CMYK