Perception- Chapter 3

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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

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Simplicity

• Gestalt Psychologists 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

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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

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Figure and Ground

• What is the object and what is the background?

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Figure and Ground-Categories

• Stable
• Reversible
• Ambiguous

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Figure and Ground-Conditions

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

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Shape

• Design is the arrangement of shape.
• Must see the shape not the object it creates.
• Shape not Subject Matter.

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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

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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

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Shape versus Subject

• A shape can bring unity where there is none.
• Repeat a shape to bring order

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Letterform Shapes

• Counter
• Serif
• Type Size
• X-height
• Ascender

• Descender
• Typeface
• Font
• Baseline
• Stress

Typeface Typeface
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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?

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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.

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Visual Dynamics

• Top to bottom comfort of gravity
• Vertical and Horizontal- comfort in stability
  (diagonal lines- dynamic flux)
• Left to right- comfort in reading

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Balance

• Successful communication requires balance, the
  directing and conducting of visual tensions.
• Equal tension created by all elements pulling
  equally
• Symmetry and Asymmetry

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Symmetry

• Traditional balance thru mirrored images left to
  right
• The traditional book
• Good is looking for a quiet sense of order,
  tradition and stability.

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Asymmetry

• Balance thru contrast
• Visual Weight- dominance of an object
• Visual Direction- way the eye is drawn between
  elements

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Weight and Direction Influences

• Location
• Spatial Depth
• Size
• Texture
• Isolation

• Subject matter
• Value
• Shape
• Structure
• Color

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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

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Using Text Type- Chapter 6

• How do you select type?
• 6 characteristics
• Above all else, the audience must be able to read
  it!

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Type Characteristics

• Size
• Measured in pica or points- 72 points in an inch
  12 points in a pica 6 picas per inch
• Computer screen can be deceptive
• Printed proof to see actual size
• Web design should be judged on a screen

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Type Characteristics cont.

• Line Length
• Measured in pica
• Flow to fill predetermined column
• Style
• Legibility prime concern
• Either stick to one type family or they need to
  be very different

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Type Characteristics cont.

• Leading
• Vertical Space between lines
• Readability concerns
• Spacing
• Kerning- space between letters
• Word Spacing

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Type Characteristics cont.

• Format
• Justified-all lines same length
• Unjustified- flush left or right, center and
  asymmetrical
• Style and Content
• Visual tone
• Affects image of client

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Type Characteristics Examined

• Type
• Type
• Type
• Type
• Type
• Type

• Type
• Type
• Type
• Type
• Type
• Type

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Type Design
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Type Design
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Layout- Chapter 7

• Balancing Act
• Diverse Elements of the Design that communicates
  and looks good
• Every element affects how the others are perceived

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Size and Proportion

• Organization of several things into a
  relationship (size, quantity, or degree)

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Visual Rhythm

• Repetition of shapes, values, colors, and
  textures
• Life is rhythm

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Grid Layout

• Grids provide order, but are flexible
• Choosing a grid
• Elements- Copy
• Art- Photos

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Path Layout

• No grid
• Designer visualizes elements on blank sheet of
  paper
• Unity relies on Unit Forming
• Focal Point
• Clear Path to next element

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Photo Layout

• Dynamic photos, strong in design and human
  interest
• Cropping-focus and drama
• Resizing- ratio
• Selecting- Quality, Merit, Strength

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Multi-panel Design

• Brochure is a 3-D design
• Each unfolding present new facet of design
• 1st panel- lure
• Build interest / theme
• Mailer

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Dynamics of Color- Chapter 8

• Color Wheel

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Properties of Color

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

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Psychology of Color

• Colors evoke specific emotional responses
  (personal or universal)
• Warm Stimulate
• Cool- Relax

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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

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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

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Understanding Electronic Color

• RGB vs CMYK