Visual communication and Visual cues part two
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This document discusses various techniques used to convey depth perception and motion in visual communications. It describes techniques such as linear perspective, size differences, lighting, and interposition that can create an illusion of depth. It also discusses how motion can be simulated through techniques like sequential images to leverage the persistence of vision, as well as how eye movement and positioning of graphic elements can direct a viewer's eyes. The document explores the history of concepts like stereoscopic images, motion pictures, and how still images can imply motion through techniques like those used in cave drawings.
Visual communication and Visual cues part two
- 1. Orson Welles
- 2. Prepared by Danielle Oser, APR
- 7. Variations of shapes that combine to make a human face
- 8. Parallelogram is a four-sided figure with opposite sides that are parallel and equal in length Dull and conventional shape, sturdy and straightforward
- 11. The human eye is used in advertising because of the form known as the circle
- 15. Direct Eye Contact Playfulness Vulnerability Innocence? Happiness?
- 16. Direct Eye Contact Defiance Anger Bewilderment? Concentration?
- 17. Looking off to the side Embarrassment Disgust Longing Worry Wish for Privacy Disregard for being photographed
- 18. A “Thousand Mile Stare” LA Times
- 19. Hidden Eyes Block out the world Hide grief Look fashionable Obey cultural or religious restrictions Hide what the eyes are watching
- 20. Circles as an attention grabber
- 22. Symmetrical balance Serenity Solemn dignity Stable base
- 23. Draws power from the point, not the base Invites the eyes to follow Give the viewer something to see at the end
- 25. 1838 Concluded our two eyes give different views and create the illusion of depth Discovers the Stereoscopic process
- 26. Relies on the fact that humans have two eyes The brain mergers two images into one 3-D image Popular 1860-1890
- 27. Random dot stereotype images that give most viewers a 3-D effect from color patterns
- 28. Depends on the frame in which an image is located How close are you?
- 29. 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
- 30. 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
- 31. Differences in light intensities communicate depth
- 32. Ripple effects Sand – foreground shadows are larger than in the craters farther away
- 33. 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
- 34. A viewer’s attention to a particular element within an image Whichever element is your “focus” becomes the foreground
- 35. The most complex depth perceptual cue
- 36. Equal parts brain function and learned behavior
- 37. Achieved through Size Color Lighting Interposition Linear perspective Trompe l’oeil trick of the eye
- 38. • Illusionary: Linear Perspective Julian Beever, http://www.julianbeever.net/
- 42. Common among traditional Japanese and Mayan art Main subject is higher and larger in the frame
- 43. 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
- 45. 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
- 47. Actual movement as seen by a viewer of some other person, animal or object
- 48. 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
- 49. 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
- 50. The motion of the eyes as they scan a field of view Eye will follow a line, slow curve, horizontal shape
- 51. Positioning of graphic elements to take advantage of eye movement and direct the eyes of the viewers
- 53. 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)
- 54. Giacomo Balla, “Dynamism of a Dog on a Leash”, 1912
- 57. Patterns seem to move as if powered by an unseen light source
- 58. Differences between visual cues are only part of the reason some messages are noticed and others are ignored