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Visual cues part two
Citation preview
Orson Welles
Prepared by Danielle Oser, APR
Variations of shapes that combine to make a human face
Parallelogram is a four-sided figure with opposite sides that are parallel and equal in length Dull and conventional shape, sturdy and straightforward
Volkswagen Beetle 2003
The human eye is used in advertising because of the form known as the circle
eye contact: direct
Direct Eye Contact Playfulness Vulnerability Innocence? Happiness?
Direct Eye Contact Defiance Anger Bewilderment? Concentration?
Looking off to the side Embarrassment Disgust Longing Worry Wish for Privacy Disregard for being
photographed
A “Thousand Mile Stare” LA Times
Hidden Eyes Block out the world Hide grief Look fashionable Obey cultural or
religious restrictions Hide what the eyes are
watching
Circles as an attention grabber
Symmetrical balance Serenity Solemn dignity Stable base
Draws power from the point, not the base
Invites the eyes to follow Give the viewer
something to see at the end
1838 Concluded our two eyes
give different views and create the illusion of depth
Discovers the Stereoscopic process
Relies on the fact that humans have two eyes
The brain mergers two images into one 3-D image
Popular 1860-1890
Random dot stereotype images that give most viewers a 3-D effect from color patterns
Depends on the frame in which an image is located How close are you?
If the viewer is aware of an objects actual size it can help in the illusion of depth perception
Related to our ability to determine an objects distance
Warm-colored objects appear closer than those that are cool colored
High-contrast pictures with great differences between light and dark tones seem closer than those with neutral tones
Differences in light intensities communicate depth
Ripple effects Sand – foreground
shadows are larger than in the craters farther away
Image covers another portion of the publication to give the illusion of depth
Here the 3-D effect shows a player seemingly leaping off the page
A viewer’s attention to a particular element within an image
Whichever element is your “focus” becomes the foreground
The most complex depth perceptual cue
Equal parts brain function and learned behavior
Achieved through Size Color Lighting Interposition Linear perspective
Trompe l’oeil trick of the eye
• Illusionary: Linear Perspective Julian Beever, http://www.julianbeever.net/
3-D Public Artwork http://www.blublu.org/sito/walls/2012/002.html
Common among traditional Japanese and Mayan art
Main subject is higher and larger in the frame
Compositional trait that relies on a symbolic definition of depth perception
Multiview allows the viewers to examine the subjects moods and angles all at the same time
The most important person in a group photo is larger in size, centrally located or separated from the “less important” people Family portraits with
grandparents in the middle of the photo
Actual movement as seen by a viewer of some other person, animal or object
Motion Picture Films A series of still images
put together sequentially Series: two or more
images meant to simulate movement
Movement is perceived in the brain because of persistence of vision
24 frames per second
1824 Suggests the theory of
persistence of vision The time required for an
image to fade from the cells of the retina
Result of the time needed to receive and recognize the picture
The motion of the eyes as they scan a field of view
Eye will follow a line, slow curve, horizontal shape
Positioning of graphic elements to take advantage of eye movement and direct the eyes of the viewers
Movement that a viewer perceives in a still, single image without any actual movement of an object, image or eye
Cave drawings = the first “motion pictures” (Count his legs)
Giacomo Balla, “Dynamism of a Dog on a Leash”, 1912
Patterns seem to move as if powered by an unseen light source
Differences between visual cues are only part of the reason some messages are noticed and others are ignored