Quicklinks to all course lessons: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Lesson 3 sections: 3-1 3-2 3-3 3-4 3-5 3-6 3-7 3-8 3-JFF 3-IDEA
Lesson 3 sections: 3-1 3-2 3-3 3-4 3-5 3-6 3-7 3-8 3-JFF 3-IDEA
A03-01: Organizing images for perception.
Objective:
- Understand the Gestalt Principles, and scaffold (connect) them to design principles you've already learned.
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Learn:
In last week's reading assignment, you learned how images are processed and how graphics can be organized to take advantage of the way our brains process visual data. Let's see if we can make a little more sense out of this... Our senses, sight, hearing, touch, smell, and taste feed our brain raw data about our environment. Much of this data processing happens without our paying much attention to it. In our textbook, this was defined as pre-attentive processing. There are certain things our brains are pre-wired to interpret. These were defined back in the 1920's by psychologists, and are called the gestalt principles or laws. |
Video: Gestalt Principles (8:07)
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Here's a great, short webpage that defines these very well. The video, Gestalt Principles, also gives a good explanation of each of these. Be sure to understand these before you move on!
Let's make connections. How is similarity like the repetition principle we've already learned? Repetition creates patterns. Our brains are naturally good at seeing and understanding patterns. One example of this would be reading a book. A book's chapter headings should look alike - helping the reader easily, and almost subconsciously identify them as chapter headings. Subheadings should look alike. Layout should be repetitively consistent. Fonts should be repetitively consistent. Similarity, like repetition, helps organize and unifies visual information for us.
When you have a grouping of similar things, a thing that is not similar creates contrast, and draws our attention to it. Connie Malamed talks about things that "pop out." That's the principle of contrast! For example, see flamingo illustration below.
Grouping and proximity mean almost the same to me. The Gestalt principle of proximity is synonymous with the design principle of proximity you've already learned. Our brains automatically group things that are in close proximity to each other. A child walking close to a woman would be automatically be grouped with her, and assumed to be her child. If the child were walking ten to twenty feet away from the woman, we would probably assume he is not related to the woman.
Continuity is very much like the principle of alignment. Our brains are automatically connecting the dots, or the visual lines created when things are aligned. These lead our eyes and move us along - because our brains want to follow those connections our eyes see. Closure is another aspect of this. When the viewer's perception completes a shape, closure occurs. This is demonstrated in the kiwi fruit image below. Our brains immediately take the incomplete information and completes a triangle in the center.
The Pragranz principle is new to us. It basically states that our minds take complex visual input and tries to simplify what we see. For example, we can often identify a silhouette more quickly than the actual object, because a silhouette is a simplified version of the object. These simplified constructs are what we store in long-term memory. When you hear the word "home" a visual construct you've stored is recalled. We can assist this mental process in our graphic designs by simplifying complex objects or elements. In the flamingo image below, each flamingo has been reduced to basic shapes and color - but we instantly recognize them as flamingos.
Let's make some more connections! Read this short website page about "10 Rules of Photo Composition." (Also, here's an alternate link to it) Can you connect many of those composition pointers to design principles or Gestalt principles we've learned here? I think you'll find several connections.
Let's make connections. How is similarity like the repetition principle we've already learned? Repetition creates patterns. Our brains are naturally good at seeing and understanding patterns. One example of this would be reading a book. A book's chapter headings should look alike - helping the reader easily, and almost subconsciously identify them as chapter headings. Subheadings should look alike. Layout should be repetitively consistent. Fonts should be repetitively consistent. Similarity, like repetition, helps organize and unifies visual information for us.
When you have a grouping of similar things, a thing that is not similar creates contrast, and draws our attention to it. Connie Malamed talks about things that "pop out." That's the principle of contrast! For example, see flamingo illustration below.
Grouping and proximity mean almost the same to me. The Gestalt principle of proximity is synonymous with the design principle of proximity you've already learned. Our brains automatically group things that are in close proximity to each other. A child walking close to a woman would be automatically be grouped with her, and assumed to be her child. If the child were walking ten to twenty feet away from the woman, we would probably assume he is not related to the woman.
Continuity is very much like the principle of alignment. Our brains are automatically connecting the dots, or the visual lines created when things are aligned. These lead our eyes and move us along - because our brains want to follow those connections our eyes see. Closure is another aspect of this. When the viewer's perception completes a shape, closure occurs. This is demonstrated in the kiwi fruit image below. Our brains immediately take the incomplete information and completes a triangle in the center.
The Pragranz principle is new to us. It basically states that our minds take complex visual input and tries to simplify what we see. For example, we can often identify a silhouette more quickly than the actual object, because a silhouette is a simplified version of the object. These simplified constructs are what we store in long-term memory. When you hear the word "home" a visual construct you've stored is recalled. We can assist this mental process in our graphic designs by simplifying complex objects or elements. In the flamingo image below, each flamingo has been reduced to basic shapes and color - but we instantly recognize them as flamingos.
Let's make some more connections! Read this short website page about "10 Rules of Photo Composition." (Also, here's an alternate link to it) Can you connect many of those composition pointers to design principles or Gestalt principles we've learned here? I think you'll find several connections.
- Simplify the scene.
- Fill the frame with your subject.
- Change the aspect ratio for a different view.
- Avoid the middle. It's boring and static.
- Use leading lines to direct the eyes
- Use diagonal lines to lead the eye
- Give your subject space to move
- Be aware of your background - don't let it detract from your subject
- Be creative with color
- Go ahead and break the rules, but only when you have a great reason to do so.
Here is a group of similar things - pink flamingos all facing one direction. Contrast is achieved through color and direction. The pragranz principle has been used here - simplifying the flamingos into basic shapes that make them easily identifiable. Our brains would have to work harder if the flamingos were photorealistic.
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Your mind is using the principles of continuity and closure to cause you to see the triangle, even though it isn't specifically defined in this image.
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Although the shape of the face is not drawn in this image, our minds complete the face from our past perceptions and experience. The gestalt principle of continuity makes our brains take the drawn line of the chin and complete the line using the principle of closure.
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Do you see the connections between the graphic design principles you've learned, and the science of perception and learning? Understanding and applying both will help you to create organized information and graphics that are easily perceived and understood.
