VisCom mweek1

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Week 1

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  • DEMO UPLOADING AN IMAGE
  • We sense – light comes into our eyes (no mental processes occurring)Select – focus on particular element in our visual plane or field of vision (reasons for this – cues, etc)Perceive – we make sense of what we select – process info, we bring past knowledge with us, all past experience of seeing impacts our interpretation of new images
  • Long term memoryImages are sent via two pathways to our brainsThrough parietal lobes passes to our amygdala – where we assign emotions to imagesthen sends it on to Hippocampi – where long term memory is stored and where we compare new visual messages to those previous for meaning and emotional value. The physiological explanation for how we form a subjective basis for interpreting visual data
  • By connecting a microelectrode to a nerve cell in the visual cortex of a catSpecific cells in the brain respond to 4 kinds of visual stimulation –
  • We look closely at each visual cue that our brains respond to gain insight into how to design compelling visual messages.
  • Color constancy – colors look different depending on lighting conditions When colors under bright conditions they retain their hue, when change when it is dark. (red in the dark looks blue)
  • Vanishing point
  • Vanishing point
  • Vanishing point
  • AFTER THIS, THEN
  • VisCom mweek1

    1. 1. VISCOM<br />COM 310 W7<br />
    2. 2. OUTLINE<br />WELCOME<br />SYLLABUS<br />BLOG<br />CHAPTER 1-3<br />CHAPTER 4<br />ACTIVITY<br />PUBLIC SERVICE PRINT ADS<br />
    3. 3. SYLLABUS<br />ATTENDANCE<br />POSITIONING (hybrid, design for non designers, service)<br />REQUIRED TEXTS<br />ASSIGNMENTS <br />WRITTEN <br />CREATIVE (e.g.)<br />COURSE SCHEDULE<br />
    4. 4. CLASS BLOG<br />
    5. 5. CHAPTER 1: How we see<br />Two premisesfromour text VisCom – Images w/Messages<br />Images have the most impact when they are remembered<br />Images and text rely on one another,<br /> -and combined - they can provide compelling messages <br />
    6. 6. CHAPTER 1: How we see<br />Aldous Huxley (1894-1963)<br />Seeing a multi-level process<br />Sense<br />Select<br />Perceive<br />
    7. 7. CHAPTER 3: Eye, Retina, Brain (what happened to CH2?)<br />Eyes and Retina<br /> Cones in the retina – can lead to color difficiency<br /> Eyes enters brain via optic nerve (chord of cells)<br /> Two eyes, slightly separated allow us to see depth<br />
    8. 8. CHAPTER 3: Eye, Retina, Brain<br />The Brain<br />Amygdala (Parietal lobes)<br />Hippocampus (temporal lobes)<br />
    9. 9. CHAPTERS 4: What the brain sees<br />David Hubel & Herbert Wiesel discovered that . . . <br />
    10. 10. Four visual cues<br />Color<br />Form <br />Depth<br />Movement<br />
    11. 11. Color<br />Primary – red, green, blue<br />Secondary – magenta, yellow, cyan<br />
    12. 12. Three ways of discussing color<br />Objective <br />chroma (hue), <br />value (amount of concentration)<br />brightness (amount of light emitted)<br />Comparative - blood red, sky blue<br />Subjective – range of emotional responses to color<br />warm and cool colors (psychological distinctions)<br />Light (soft and cheerful) and dark (harsh and moody)<br />
    13. 13. Color<br />Sociological uses of color<br />Cultural heritage<br />Training<br />Personal meaning<br />We associate specific meanings with different colors<br />Purple – dignity, sadness<br />Blue – power to protect<br />Green – versatility, ingenuity<br />Yellow -health<br />White - purity<br />
    14. 14. Color<br />
    15. 15. Form<br />Dots<br />Lines<br />Shapes<br />
    16. 16. Form<br />Dots – command attention, create tension<br />Sunday Afternoon on the Island of La Grande Jatte (Seurat, 1884) <br />
    17. 17. Form<br />Lines – draw viewers attention<br />Curvy lines are playful<br />Straight lines – rigid<br />Thick lines – strong<br />Thin lines – delicate, timid<br />
    18. 18. Form<br />Lines – horizon lines<br />High lines – suffocation<br />Low lines – space to grow<br />
    19. 19. Form<br />Shapes - <br />Parallelogram<br />Circle<br />Triangle<br />
    20. 20. Form<br />Shapes – Parallelogram -4 sides, rectangles and squares<br />Squares – sturdy, straightforward<br />Rectangles – more sophisticated<br />
    21. 21. Form<br />Shapes – Circle<br />Can overpower <br />Suggest brightness, wheel of life (eternity, infinite causality)<br />
    22. 22. Form<br />Shapes – Triangle<br />Equilateral – symmetrical balance, serenity<br />Isosceles – point draws attention<br />Technique - triangulation (made of objects)<br />
    23. 23. Form – dots, lines, shapes<br />
    24. 24. Depth – 8 depth cues<br />Space<br />Size<br />Color<br />Lighting<br />Textural gradients (patterned lines)<br />Interposition<br />Time<br />Perspective (illusionary, geometrical, conceptual)<br />
    25. 25. Depth – Perspective<br />
    26. 26. Depth – Perspective<br />Woman Playing the Mandolin (Picasso, 1909)<br />
    27. 27. Depth – Movement<br />Real<br />Apparent (motion pictures)<br />Graphic (rhythm)<br />Implied (visual vibrations from high contrast lines)<br />
    28. 28. ACTIVITY -ANALYZING AN IMAGE<br /> make an inventory list of all objects in picture<br /> notice composition (center, periphery)<br /> study visual cues <br />
    29. 29. PUBLIC SERVICE PRINT ADS<br />Why Bad Ads Happen to Good Causes<br />Studied over 200 public service print ads 1990-2000<br />Noted - % remembered seeing the ad<br />Associated - % recalled name of advertiser or campaign<br />Read Most - % read ½ or more of written material in ad<br />
    30. 30. PUBLIC SERVICE PRINT ADS<br />7 DESIGN PRINCIPLES<br />Capture reader’s attention like a stop sign, direct it like a road map<br />Make an emotional connection before conveying info<br />Write headlines that offer a reason to read<br />Use pictures to attract and convince<br />Make text legible<br />Test, measure<br />When everyone zigs, zag<br />
    31. 31. HWK by 9/15<br />Read Chapters 2-4<br />Due Journal #2<br />Play with the blog <br />

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