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Static Illusions
o Geometric – where line, space, and shape are misinterpreted.
§ Carpentered – illusionary lengths, widths or distortions |
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o Depth and Distance – interpreting flat images as 3-D
Foreshortening – change in perspective and size as one views objects from greater distance |
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o Ambiguous – figure/ground reversal or spontaneous change in position. |
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o Irradiation – light area is diffused with beyond actual shape. |
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- Autokinetic Illusion – self moving illusion. |
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Regular repetition spaces all repeaters identically, strengthening the direction of repeats |
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o Irregular repetition varies the spacing between repeats, weakening the direction |
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PARALLELISM
o Equal distance at all points
o The use of lines lying on the same plane
o They are equal at all points and never meet
o Can be directional or linear
o The more the parallel lines, the weaker the directional effect of each line
o The fewer = strong direct effect
o Applies to line, shape and space ONLY
o The space between any two lines must be even but space between sets of parallel lines can vary |
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ALTERNATION
o only two things changing back and forth in the same order
o this is a directional principle
o all elements can be used
o can be used decoratively or structurally
o psychologically stronger if both items convey the same mood |
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GRADATION
o Change in a consecutive series, must have 3 or more
o Sequence of adjacent units which change
o Needs more than two steps otherwise its comparison and changes much progress constantly
o It is a linear principle
o It can strengthen psychological effects of an element by building intensity
o Stronger if used in a single, long line
o Can be used structurally or decoratively
o Any aspect of an element that can be placed on a continuum can be graduated |
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TRANSITION
o Smooth change in a variation of an element without break or distinct step from one to the next
o This is a linear principle, emphasizing direction of development
o Example: forest of trees changing leave colors, sunrise or sunset |
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RADIATION
o Radiation is a feeling of movement bursting outward in all directions from one visible or suggested central point
o A directional principle
o Calls attention at either end of the line, so the radiating lines should end where attention is desired
o Radiation applies to shape, line and space, so it is limited and not as powerful
o May have a suggested central point |
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UNITY
o Sense of completeness, wholeness.
o The major goal of visual design
o subtle and difficult to analyze
o attracts attention but does create a complete effect
o ultimate synthesizing principle because it integrates every aspect (function, structural and decorative)
o gives sense of completion
o not possible without harmony
o visual unity – denotes some harmony or agreement between the items that is apparent to the eye
§ the whole must be predominant over the parts
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HARMONY
o Everything belongs together
o An agreement in feeling, a consistency in mood, a pleasing combination of differing things used in compatible ways
o Pulls the pieces of a visual image together
o The theme must include agreement among functional, structural and decorative design levels
o Synthesizing principle which relates and integrating parts to the whole
o Harmony means pictorial elements of the same type that “go” together
o Everything in harmony relates but isn’t necessarily complete
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CONCENTRICITY
o progressive increase in the size of layers of the same shape, all having the same center
o edges may vary but they retain the relationship to center
o focuses on central point
o highlighting principle |
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CONTRAST
o Feeling of distinct differences
o Purpose is to show apparent differences
o A highlighting principle which focuses our attention where differences occur
o The opposition of things for the purpose of showing unlikeness
o Repetition accents similarities and contrast accents differences
o The greater the contrast the more it enlarges
o Means pictorial elements stand out because they’re not alike
o It is made by objects together that don’t normally go together and therefore stand out more |
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o Hieratic scaling – in past centuries visual scale was related to importance. The size of figures was based on their symbolic importance in the subject being presented.
§ Below and also on page 65 in our book, figure C is of Saint Lawrence who is unnaturally larger than the other two figures in the painting with him. This makes the saint not only the focal point but indicates his importance compared to the other two. |
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§ Informal – also called asymmetrical. This is when each side of a center is different but the overall feeling is one of equal weight distribution. It has a more complex interaction of parts
· Casual, dynamic, complex, lively and more challenging to create
· Many advertisers use this kind of balance to catch our eye |
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§ Alternating rhythm – constant element uninterrupted by change.
· Think of regular repetition
· I think it is also referred to as “continuous rhythm”
· Patterns of buildings gives a dynamic quality to them – buildings with columns, placement of windows (dark glass against a solid wall |
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§ Repetitive rhythm – group of like objects/elements in an arrangement at unequal intervals.
· Think of irregular repetition
· Pictures seen in class were of multiple ballerinas and a tree |
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Progressive rhythm
utilizes similar elements that change |
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Visual rhythm
movement of viewers eye |
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GESTALT PERCEPTIONS
o Similarity – the perception of like units as a group rather than as individual units
§ Think of similar shapes |
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o Proximity – – the grouping of units close together into fewer units
§ Grouping or spacing
§ Making separate elements look as if they belong together by simply putting them together |
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| [image][image][image][image] |
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o Closure – perception of complete bounded shapes from implied lines |
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| [image][image][image][image] |
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o Continuation – perception of a continuous line through a small break or interruption
§ Implied lines
§ More subtle than proximity
§ Means something continues, usually a line, edge or direction from one form to another
§ Viewers eye carried smoothly from one element to the next |
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