Foundations for Art, Design & Digital Culture. Observing - Seeing - Analysis

Size: px

Start display at page:

Download "Foundations for Art, Design & Digital Culture. Observing - Seeing - Analysis"

Eugenia Little
5 years ago
Views:

1 Foundations for Art, Design & Digital Culture Observing - Seeing - Analysis

2 Paul Martin Lester (2006, 50-51) outlined two ways that we process communication: sensually and perceptually. The sensual process, that which leads from sensation to visual communication, occurs when our eyes see visual forms and our brain takes the sensations (visual input) and makes a coherent image (also known as a gestalt). Perceptual processing occurs when our brains make immediate meaning from an image we see, such as that of a traffic light. The gestalt principle states that we see the whole before we identify the parts. Our brains separate wholes into parts to establish a figure and a ground. When we can visually stabilize the parts into a whole image and identify figure and ground, we can make visual sense of an image. Combining images creates new meanings from the identification of associated symbols. excerpts from John DiMarco, Digital Design for Print and Web

3 Figure-Ground Figure-ground is used extensively to help artists and designers in composition of a 2D piece. In its basic sense, it refers to a cognitive ability to separate elements based upon contrast, that is, dark and light, black and white. Many times this definition is expanded from a simple perception based on contrast to include abstract (i.e. nonvisual) concepts such as melody/ harmony, subject/background and positive/negative space. ing on whether the white or black color is seen as the figure (forefront) or the ground (background) the brain will interpret the picture as two different images, and it may be difficult (or even, according to gestalt psychological theory, impossible) to perceive both meaningful images simultaneously. There is a tendency to switch rapidly between both readings of the image. The famous optical illusion image depicting both a vase and two profiles of a human face (the Rubin vase) is often used to illustrate the concept of figure ground: Depend-

5 Poster by Gianni Bortolotti

7 igure-ground is property of erception in hich there s a tendency o see parts f a visual ield as solid, ell-defined bjects standing ut against a less istinct background. In visual perception, figure-ground is a type of perceptual organization in vision that involves assignment of edges to regions for purposes of shape determination, determination of depth across an edge, and the allocation of visual attention. Figure-ground is a critical process in perception because of its profound consequences for shape perception. The Gestalt psychologist Edgar Rubin is credited with popularizing the issue of figure-ground organization and it is therefore often associated with Gestalt Psychology more broadly.

9 Contrast and Image Recognition The brain is much better at quickly detecting shade variations than shape difference. From the Functional Art, Alberto Cairo

10 Pattern Recognition With the goal of saving processing time, the brain groups similar objects (size, tone, etc) and separates them from those that look different. Then it focuses on different shapes. This preattentive detection feature the instant sorting of differences and similarities is one of the most powerful weapons in the designer s arsenal. The main principle behind Gestalt theory is that brains don t see patches of color and shapes as individual entities, but as aggregates. This sorting of difference comes into play when talking about many design principles such as: proximity, alignment, repetition, similarity, connectedness, continuity, and closure. The Functional Art, Alberto Cairo

12 Get to the point Points vs. Dots Technically, a point is a coordinate without any dimensions, a dimensionless geometric object having no properties except location. Webster Dictionary The defining characteristic of a dot is that it s a point of focused attention. Dots anchor themselves in space and provide a reference point relative to the other forms and space around it. Dots centrally placed within a composition create symmetry and are neutral and static, through they tend to dominate the space around them. Dots placed off center create asymmetry. Dots are dynamic and actively influence the space around them. Steven Bradley, Designer QG F

14 Line If we think of a point as having no dimensions (neither height nor width), and then we set that point in motion, we create the first dimension: line. In theory, line consists only of the dimension of its length, but in terms of art and design we know line can have varying width as well. Design Basics by David A. Lauer and Stephen Pentak

Quality of Line and Markmaking In theory, line consists only of the dimension of its length, but in terms of art and design we know line can have varying width as well.

But since line is capable of infinite variety, it carries a very strong power of suggestion, able to convey all sorts of moods and feelings.

17 Quality of Line and Markmaking In theory, line consists only of the dimension of its length, but in terms of art and design we know line can have varying width as well. Since our eyes tend to follow it, a line s potential to suggest motion is basic. But since line is capable of infinite variety, it carries a very strong power of suggestion, able to convey all sorts of moods and feelings. Think of all the adjectives we can apply to lines. We often describe lines as being nervous, angry, happy, free, quiet, excited, calm, graceful, dancing, and having many other qualities. This power of suggestion can greatly add a feather touch or lead weight to the distribution of visual weight in a design. Design Basics by David A. Lauer and Stephen Pentak

18 Momix Tsunami_by_hokusai_19th_century

20 Value is typically viewed as a measure of relative lightness or darkness. In a value scale ranging of ten values from white to black, you would see something like this:

21 Line as Value When it comes to using black and white design, value can be added to a piece by using line. A single line can show the shape of objects. But an outlined shape is essentially flat; it does not suggest the volume of the original subject. Magnified engraving from 1693 by Pietro Santi Bartoli The artist can, by placing a series of lines close together, create visual areas of gray. By varying the number of lines and their proximity, an almost limitless number of grays can be produced. These resulting areas of dark and light (called areas of value) can begin to give the three-dimensional quality lacking in a pure contour line. Again, the specific linear technique and the quality of line can vary a great deal among different artists and contribute to the forms created.

22 The Observation Deck, Brad Holland, 1978

23 Adam and Eve, Albrecht Durer, 1504

24 Shape A shape is a visually perceived area created by either an enclosing line, or color or value changes defining the outer edge. A shape can also be called a form [although] form may be used in a broad sense to describe the total visual organization of a work the term shape is more specific. Design Basics by David A. Lauer and Stephen Pentak

30 Monet, Rouen Cathedral: Portal, Grey Weather, 1892 Lichtenstein, Cathedral #2 from the Cathedral Series, 1969

32 The Use of Line to Create Shape It should be noted that line used to create shape is an important and telling element in the attributes we give to a shape. Although visual weight is usually attributed to size of a shape, the texture of a line can enhance the meaning given to these shapes.

33 Composition Compositional space is the overall arrangement and organization of visual elements on the two-dimensional surface that may or may not result in the perception of a three-dimensional environment.

34 Edgar Degas, The Millinery Shop, 1884/90

35 The Illusion of 3D Space In two-dimensional art forms, such as drawings, paintings, and prints, the artist often wants to convey a feeling of space or depth. Here space is an illusion, for the images rendered on paper, canvas, or board are essentially flat. Artists throughout the centuries have studied the problem of presenting a visual illusion of space and depth. Several devices have been used including scale, overlapping shapes and perspective. The easiest way to create an illusion of space or distance is through using size or scale. Very early in life we observe the visual phenomenon that as objects get farther away they appear to become smaller. Overlapping is a simple devise for creating an illusion of depth. When it is combined with size differences, the resulting effect of spatial recession can be much stronger.

36 If the same shape is repeated in different sizes, a spatial effect can be achieved. With differing shapes, the spatial illusion is not as clear.

37 Context and Subject Context and subject often times addresses the perception of which visual element is the primary topic (often the focal point), the denotative and connotative concepts the primary element represents, and which visual information is the paradigm into which the primary topic lies. The context would then be the surrounding imagery or elements. The relationship between the subject and the context, influences the meaning of both the elements. Context and subject can also easily be related to medium and message since often times the message can be viewed as subject and the medium as context. Figure-ground is also a good model when referencing context and subject. Just as there may be cases in which it is difficult to visually discern which is figure and which is ground, there may also be visual examples in which context and subject hold seemingly equal importance.

39 Exercise in Illustrator In this exercise we will learn how to: use the swatch palette, use stroke and fill options, make geometric forms, use the selection and direct selection tools, scale and rotate objects, copy and group objects, utilize the bounding box, how to use the align palette, and how to use the pen tool.

Beau Lotto: Optical Illusions Show How We See

Beau Lotto: Optical Illusions Show How We See What is the background of the presenter, what do they do? How does this talk relate to psychology? What topics does it address? Be specific. Describe in great