Visual Design: Perception Principles Design_11Feb2015.pdf · • Based on the work of Kurt Koffka,...
Transcript of Visual Design: Perception Principles Design_11Feb2015.pdf · • Based on the work of Kurt Koffka,...
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Visual Design: Perception Principles
ID 405: Human-Computer Interaction
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1. Gestalt psychology of perceptual organisation
2. Perception Principles by V.S. Ramachandran & William
Hirstein
Visual Design: Perception Principles
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Human visual system assumes:
Definition: Objects have well-defined edges & surfaces
Appearance: Light travels in straight lines and reflects off
surfaces in certain ways
Temporal Persistence: Objects do not randomly appear/vanish
Gravity: Objects fall in predictable ways
Properties of physical world
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Gestalt psychology1
• Based on the work of Kurt Koffka, Max Wertheimer, and
Wolfgang Köhler
• Law of Prägnanz (pithiness, goodness)
• Things are organized spontaneously and assumed to be in
the simplest configuration
• Perception as organised and structured wholes rather than
the sum of their constituent parts
• Emergent, holistic, interdependent, and in context
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1. Emergence: The mind sees the whole and then the parts. It often sees
more than what is specifically stated by its individual parts.
The gestalt laws of perceptual organization
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2. Invariance: The mind recognizes simple objects independent of rotation,
translation, scale, deformations and lighting
The gestalt laws of perceptual organization
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3. Proximity: Elements that are closer together are perceived to be more
related than elements that are farther apart
The gestalt laws of perceptual organization
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3. Proximity: Elements that are closer together are perceived to be more
related than elements that are farther apart
The gestalt laws of perceptual organization
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4. Similarity: Elements that are similar are perceived to be more related
than elements that are dissimilar
The gestalt laws of perceptual organization
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5. Enclosure: Elements that are enclosed by anything are perceived as
belonging together
The gestalt laws of perceptual organization
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5. Enclosure: Elements that are enclosed by anything are perceived as
belonging together
The gestalt laws of perceptual organization
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6. Continuity: The mind continues visual, auditory, and kinetic patterns
The gestalt laws of perceptual organization
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6. Continuity: The mind continues visual, auditory, and kinetic patterns
The gestalt laws of perceptual organization
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The gestalt laws of perceptual organization
7. Closure: The mind perceives a set of individual elements as a single,
recognizable pattern
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The gestalt laws of perceptual organization
7. Symmetry: The mind perceives objects as symmetrical shapes that form
around their center
[ ] { } [ ]
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The gestalt laws of perceptual organization
8. Figure-ground: Elements are perceived as either figures (objects of
focus) or ground (the rest of the perceptual field)
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The gestalt laws of perceptual organization
9. Connection: Elements that are connected (e.g. by a line) are perceived
as belonging together
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The gestalt laws of perceptual organization
9. Connection: Elements that are connected (e.g. by a line) are perceived
as belonging together
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The gestalt laws of perceptual organization
9. Connection: Elements that are connected (e.g. by a line) are perceived
as belonging together
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The gestalt laws of perceptual organization
10. Common-fate: Elements that share a common fate (e.g., moving in the
same direction) as belonging together
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Perception principles
Based on the work of V.S. Ramachandran & William Hirstein
1. The Artful Brain
2. The Science of Art – A Neurological Theory of Aesthetic
Experience
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Neurological basis of visual perception
Gestalt psychology and its
evolutionary rationale and the neural
mechanism
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5 key principles
1. Peak shift
2. Isolation
3. Contrast
4. Viewpoint
5. Metaphor
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1. Peak shift principle
- Peak shift effect in animal learning and
evocativeness in visual representation
- Caricature: capturing the essential features
while discarding redundant information
- Take the average of all faces, subtract the
average from Federer’s face and then
amplify the differences
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1. Peak shift principle
Caricature
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1. Peak shift principle
- Essentially a caricature of the female
form
- not only captures the essence of
feminine sensuality, grace, poise,
dignity and charm, but also amplifies,
exaggerates
- the concept of “rasa” or “the very
essence”, in order to evoke a specific
mood or emotion in the viewer’s brain
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1. Peak shift principle
Van Gogh’s paintings – peak shift in colour space
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1. Peak shift principle
Movement, shading, highlights, illumination, texture…
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1. Peak shift principle
- How is this related to the rest of visual representation?
- Seagull behaviour – a caricature in ‘beak space’
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2. Isolation principle
- Also referred to as the principle of understatement
- A wealth of information leads to poverty of attention
- Isolating a single visual cue helps to focus attention
- Johansson effect
- Comedic impressions
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2. Isolation principle
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2. Isolation principle
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Prehistoric art
2. Isolation principle
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Comics
2. Isolation principle
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2. Isolation principle
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2. Isolation principle
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2. Isolation principle
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3. Contrast principle
- Information resides mainly in regions of change (Claude
Shannon)
- Our visual system responds mainly to edges - they are
more attention grabbing, more interesting than
homogeneous areas
- In representation, it is important to compare and contrast
information in the same visual field to improve effectiveness
of communication
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4. Viewpoint principle
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!?#$%
4. Viewpoint principle
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4. Viewpoint principle
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- Our visual system rejects unique viewpoints and prefers
generic viewpoints
- In general, it abhors suspicious coincidences
- Avoid distracting visual conundrums
4. Viewpoint principle
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5. Metaphor
- A metaphor is a mental tunnel between two concepts that
appear dissimilar on the surface
- It is useful to explain the unfamiliar in terms of the familiar
- It also allows us ignore irrelevant, potentially distracting
aspects of an idea and enables us to ‘highlight’ the crucial
aspects
- Encoding the world more economically
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5. Metaphor
- Why are visual metaphors
besides effectively
communicating are also
rewarding?
- Seeing a deep similarity
and categorizing was vital
for survival
- Several viewer-centred representations of a chair are
linked to form a viewer-independent representation of
‘chariness’