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is a figure of speech in which a thing or concept is called not by its own name but rather by the name of something associated in meaning with that thing or concept,
Like Hollywood for the US. Film Industry |
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| the study of signs and sign processes (semiosis), indication, designation, likeness, analogy, metaphor, symbolism, signification, and communication |
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| a stimulus will be noticed more if it has meaning for the individual |
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| brain can only focus on one activity at a time |
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| What are the four Gestalt principles? |
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| Similarity, Proximity, Continuation and Common Fate |
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| given a choice, the brain will select the simplest and most stable form to concentrate on - importance of basic shapes |
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| the brain more closely associates objects close together than it does to two objects far apart |
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| the brain prefers smooth continuation as opposed to sudden or erratic change |
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| objects all doing the same thing, pointing in the same direction - the one that doesn't will create tension because it is not like the rest |
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| little or no separation between foreground and background |
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| a viewer does not simply witness a light structured object, but actively arrives at a conclusion about the perception through mental operations |
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| What are some mental activities that affect visual perception |
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| memory, projection, expectation, selectivity, habituation, salience, dissonance, culture and language |
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| having preconceived expectations about how a scene should appear often leads to false or missed visual perceptions |
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| the mind focuses only on significant details in a scene |
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| ignore everyday visual stimuli |
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| a stimulus will be noticed more if it has meaning for the individual |
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| brain can only focus on one activity at a time |
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| look at mental model of the consumer in the context of a customer's lifestyle |
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| "Why we love beautiful things" |
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"an attractive product can trigger a part of the motor cerebellum that governs hand movement"
shades of green can boost creativity and motivation
our eyes can scan an image fastest when it is a golden rectangle
the power of natural fractals
can look good, be good for you |
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| The categorical imperative |
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kant - right is right, must be done even under the most extreme conditions
universal, not subject to situational factors - shift focuses from the actor to the act itself |
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| the consequences of actions are important in deciding whether they are ethical - the greatest good for the greatest number - but difficult to anticipate all consequences |
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consider all people as equals with no knowledge of importance/class/role etc.
imagine you are behind a veil, ignorant as to the role you would fill in a given scenario and make a decision |
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| encourages dialogue, regarding sociopolitical issues, community interests trump individual issues |
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| What are the six approaches to analyzing images? |
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| personal, historical, technical, ethical, cultural, and critical |
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| seeks to combine the rational and the intuitive |
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| the closer you are, the more connected you are to the subject, the farther away, the more attached - part of the technical approach to analyzing images |
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| the greater the # of dots per inch, the cleaner the edges of the printed image - web= 72 dpi print = 300 dpi |
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| peripheral root processers |
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| emotional, image heavy, short exposure time, less important |
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| logical, text-heavy, longer exposure time, more important |
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| the design of the type face - can you understand what the word says? |
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how easy is it to read large amounts of text
san serif - better for computer reading
serif - better for print |
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| What are the four design principles? |
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| contrast, repetition, alignment, proximity |
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the modernists love helvetica - believe text should be silent and medium not be in the message
post modernists - just because its legible, doesn't mean it communications - medium should be the message
postpostmodernists - don't hate helvetica, but think you can make it your own |
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| focus groups, surveys, ethnography, primary/secondary research |
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| What are the three approaches to color theory? |
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| objective, comparative, and subjective |
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| These are the color pairs that are directly opposite on the color wheel. Such as red and green. They represent the most contrasting relationships. The use of complementary colors will cause a visual vibration and excite the eye. |
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| these are the three color schemes in which one color is accompanied by two others that are spaced equally from the first color's complement. The contrast is toned down somewhat, providing a more sophisticated relationship |
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| This is the combination of two pairs of complementary colors. As complements increase the apparent intensity of each other, not all of these combinations will be pleasing. Avoid using equal volumes of each color to make the combination less jarring. |
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| These are combinations of two ore more colors spaced equally from each other on the color wheel. These colors have similar light wave lengths, so they are easier on the eye. |
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| These are combinations of any three colors that are spaced evenly on the color wheel. |
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| These are color schemes made up of shades and tints of a single color. |
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| formally balanced, symmetrical, most conventional shape, sturdy and straightforward. |
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| Most common shape, slightly more sophisticated than the square |
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| associated with endless, rhythmic patterns of time, symbolize eternity, no beginning or end. Circles immediately draw the viewers eye. |
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| most dynamic and active of shapes. convey direction. can burden a design with the tension they create |
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| What is the most popular principle for type face combinations? |
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| to pair a sans serif header typeface with a serif body typeface. |
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| What is one very easy way to combine multiple fonts from several typefaces? |
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| design a role-based them and stick to it - multiple fonts consistently as headers, bodies, subtitles etc |
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| What is typographic color? |
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| the combined effect of the variations of font weight, size, stroke width, leading, kerning, and several other factors. |
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| both implied & actual, can help guide the eye and mide |
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| the real, apparent size of an object seen in relation other other objects in the environment |
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| Line Height & Readability |
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| make sure your line height is greater than the point size of your typeface for multiple texts |
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| imaginary line that text sits on |
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| horizontal line that marks the top of lowercase letters that extends below the base line |
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| extension in lower case letters that rises above the mean lines |
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| distance between the baseline and the mean line |
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1 pica - 12 points
6 pica - one inch
72 points - one inch |
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| the space between individual letters and c h ar acter s |
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| Like CMYK, which are 4 color halftones or RGB |
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| means one ink, separate dots of each individual color |
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| a range from low intensity to full intensity |
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| Already mixed color, cannot layer it - it is solid blocks of color - best for logos, one-dimensional graphics, and text. does not overlap to create new hues. |
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