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

9. Volkswagen Beetle 2003

11.  The human eye is
used in advertising
because of the form
known as the circle

13. eye contact: direct

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/

39. 3-D Public Artwork
http://www.blublu.org/sito/walls/2012/002.html

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