| A | B |
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| Gestalt Psychology Theories: | Depends on the human behaviors (tendencies) of “pattern seeking” and making the “whole” greater than the sum of its parts. |
| psychological contentment | People attempt to organize space both mentally and physically |
| Visual Perception: | acceptance by an audience of a graphic message through the processes of seeing |
| Graphic designers attempt to | persuade, inform, or inspire through visual communication |
| Balance is: | weighing of elements to produce a psychologically stable visual environment,key to successful graphic communication,achieved visually by creating the perception of weight and direction,is a form of visual harmony. A designer needs to understand the basic human tendency to organize space. |
| Principle of Closure: | Mental tendency to finish or close shapes |
| Isomorphic correspondence: | : Audiences project their emotional reactions into a visual communication |
| Principle of Continuation | Extending an audience’s responses to a visual beyond the physical limitations of the graphic. Also called Kinesthetic projection (eg. Pointing an arrow off the page) |
| Symmetrical Balance: | Visual weight in a composition is through symmetrical balance Symmetrical balance can be easily identified by its repetition of identical points, lines, planes, and volumes. Classified as conservative, static, traditional, and sometimes dull Creates a feeling of gravity, stability, unmovable structure and calm |
| Asymmetrical Balance | Dividing space asymmetrically creates unexpected movement To maintain balance, pay attention to developing strongly evident contrast between elements. Creates unexpected movement |
| A Directional Gestalt | Contrasting the position of elements in order to create differences of direction. |
| Positive Space: | refers to the actual figure or center of interest. |
| Negative Space | : refers to the background or open space around the main figure |
| Figure/Ground relationships can be developed in three main states: | distinct, changing, or ambiguous. |
| Grouping: | refers to how patterns of similarity are perceived by an audience and remembered by them. |
| Synergy: | The graphic elements in visual communication should depend on each other to create visual harmony. |
| Less is More: | Have you ever been bored by too much stimulation? Ask the question, “Do I really need that?” |
| Repetition: | the primary route that can be traveled to attain consistency. |
| Color | the most reliable mode in which to project repetitive unity. |
| Proximity | triggers spatial relationships between elements in a frame |
| RGB | Red, Green, Blue |
| CMY(K) | Cyan, Magenta, Yellow, (Black) |
| RBY | Red, Blue, Yellow...primary colors of pigment |
| color identification properties | Hue, Saturation, Value |
| Hue | the color itself |
| Saturation | intensity of the hue, or color itself |
| Value | amount of gray in the hue, or color |
| Analogous Color Theory | Primaries – RBY, cannot be mixed with other colors Secondaries – GOV, created by mixing two primaries,Tertiary– Sometimes called Intermediate colors. These are the 8 colors created by mixing primaries and secondaries |
| monochromatic | any single hue and its tints and shades |
| complimentary | any two colors directly opposite on a color wheel |
| split compliments | any hue and the two colors next to its complimentary color on the color wheel |
| analogous | any combination of colors adjacent to each other on the color wheel |
| Color should never... | interfere with legability |
| Warm Colors | generally, reds, oranges, and yellows are connected to warmth. These are the colors of fire. |
| Cool Colors | - blues, purples, and greens are associated with coolness. These are the colors of water. |
| cool colors tend to recede while | warm colors tend to advance |
| Simultaneous Contrast | the context of a color’s surroundings can alter the way a viewer perceives the value or intensity of that color. |
