Visual Techniques

• Harmony
• Color
• Asymmetric
• Sharpness
• Flatness
• Exaggeration

Contrast
Monochrome

Symmetric

Diffusion
Depth

Understatement

Above are two posters from a kitchen utensils company: WMF and an automobiles company: BMW. By comparing and contrasting the differing results between the two design works produced by the different combinations of techniques, we can see that these two posters actually created by a polar-pair visual technique. In other words, the visual techniques that are applied on these two posters are opposite.

First, the scene in the WMF's poster is very harmony in color while the BMW's poster is in high contrast. For instance, the green and orange color of the carrot in WMF's poster creates a very agreeable and natural feeling. On the other hand, the dark gray BMW automobile appears in a white background creates a very strong contrast in color and tone.

Secondly, the composition of WMF's poster is asymmetrical while the composition of BMW's poster is (almost) symmetrical. This makes the BMW's poster well-balanced, yet the WMF's poster is still visually balanced.

Thirdly, The overall design of the WMF's poster is emphasizing on the sharpness and clearness of the image (product) in the poster while the BMW's poster is more promoting their automobile in a scene that obtains depth. The depth is created by the use of the diffusion visual technique.

Last but not least, The slogan of the WMF's poster: "Sharper than your think" and the image of the poster utilizes exaggeration technique. The image in the WMF's poster implies that their knife is so sharp that it will cut through the cutting board when user is cutting a carrot. Basically, It backs up the slogan that WMF's knifes are very sharp. On the other hand, the slogan and the image of the BMW's poster is relatively understated. It don't have a outstanding slogan or use exaggerated technique.

Contrast

An effective use of contrast

http://www.sleepyskunk.com/movieIdeas/view/?id=277

The use of contrast is contributing to the success of this Ghostbusters III movie poster. The contrast in this poster is operating in three main aspects: contrast in color, contrast in scale and contrast in shape. First, the utilize of the three primary color: red, black and white have a very intense contrast within one and other. The plain white ghost character and the red stop sign appear on the solid black background, which creates an obvious pop-out effect. This provides a particular zone of focal point to this poster, which catches viewers' attention and interest. Other than color, contrast in scale also plays an important role in the success of this poster. When we look at the poster as a whole, the ghost's HUGE three fingers hand sign also has a pop-out effect because of its unbalanced proportion. By comparing the size of ghost's hand to its size of body, we can realize that its fingers are totally out of proportion. This draws viewers' attention in order to indicate them that this is Ghostbusters "III" movie. Last but not least, the contrast in shape is also utilized in this poster, the "rounded" stop sign has a contrast to the "jagged"  fingers of the ghost, which adds extra contrast to this poster. Contrast not only effectively makes this poster stand out, but it also makes this poster rememberable!

A lack of or poor use of contrast

http://indulgy.com/post/er8vq3sr51/to-print-and-read-it-every-day

The lack of contrast is contributing to the failure of this poster. The reason why this is not a successful poster because it lack three main aspects of contrast: lack contrast in color, lack contrast in scale, and lack contrast in depth. First, it is lack contrast of color; the entire poster is using only one color, which is plain pink/purple. This does not provide a pop-out effect to be able to attract viewers' attentions. Secondly, it is lack contrast of scale. There is not any typographic hierarchy in this poster. The size of the front are in same style, and they are all uppercase. Since contrast is a relationship between two discourse segments. Therefore, if the contents of the poster do not have any contrast element, it will be very boring. Lastly, this poster is lack contrast in depth. As I mentioned, this poster is all covered by words without any space/room in between, which creates an extremely wordy and confusing feeling to its viewers. "Confusion and ambiguity are generally not effective in design or communication." In short, because of the lack use of contrast, this poster is a failed example of design.

Movement/Motion

http://www.flickr.com/photos/caz1958/4383207762/

The above image of Newton's collision balls apparatus is an example of implied motion in design. According to gestalt law of continuation, we expect lines to continue. Although it is a 2-dimensional graphic, the diagonal white curved-line swing from the right top corner to the left top corner indicates implied movement. In addition, this photo uses direction (curve derived  from circle shape) to convey the energy of rolling movement. Besides, blurred shadow is presented to indicate fast motion. lastly, the balls in variation of scale also communicate implied movement and sense of depth.

http://zachshaw.wordpress.com/page/2/

In this above graphic image, it contains the element of implied motion. The repeated  shadow is formed and blurred to imply the energy of movement  of the dancers. Even though the dancers are not actually dancing, their movement and elegant posture suggest the motion. This design conveys the energy of movement by using the gestalt law of continuation, which allow us to we expect that the patterns and lines to continue. In addition, the fact that the three groups of dancers are arranged to form a diagonal line also implies movement since diagonals communicate movement and change.

Dimension/Depth/Space/Scale

http://chroniclesofmouse.blogspot.com/2010_08_01_archive.html

    The utilization of dimension, depth, space and scale in the above Japanese movie poster is related to this week's material.  The poster is presented in linear perspective to represent three-dimensional space on a two dimensional media (surface). Although we cannot see a obvious parallel lines converge as they get further away in this poster, we can notice the use of linear perspective by observing the convergence of the buildings on both sides of the poster. In addition, the different scale of the human figures in this poster giving depth cues to the viewers. In other words, the injured man, who is laying on the floor has a relatively larger size than the man, who is standing behind him. Relative to its size, the depth of the space is evidently illustrated. Relative size is a depth cue, which indicates "objects that take up small part of the field of view are perceived as farther away than objects that take up large part of field of view." Furthermore, another depth cue - overlap is also utilized in this poster to show interposition. The horses overlap the buildings, which make the horses seems as being closer to the viewers. Last but not least, relative height is also a depth cue. The horizon line of this poster is located in the middle. Therefore, the man who is standing above the horizon line tends to seem as being further away.

Tone and Color

http://www.examiner.com/article/what-s-wrong-with-modern-movie-posters

• How TONE is operating

In this movie poster, tone is operating a very important role. First, Tone allows viewers to recognize that it is a man portrait in this poster even though viewers can only see half of his face. Tones distinguish differences, changes and edges on a 2-D surface, which allows viewers to see the facial feature of the man. Without tone applying to this poster, viewers will not able to tell it is a human face. In addition, This poster has a high dynamic and tonal range, which provides more detail to be distinguished. Through seeing the strong differentiation of tones in this poster , viewers are able to see surface and form of the man's face.

• How TONE is interacting

Tone is also interacting between the figure and the background. Tone has an abstract power to create mood. The dark and mysterious tone of the background combine with a cool and evil facial gesture of a man, provide a very heavy mood to the viewers. Tones are communicating and interacting within the entire poster to express a very secret feeling.

• How COLOR is operating

Color is operating in this poster even though this poster utilizes a few colors only. The gold-yellow color of the iris around the man's pupil provides a high contrast to his thick black eyebrows above his eye, which create a strong focal point to the poster. Moreover, the white and pale color of the man's face also has a strong contrast to the deep blue black color of the background, which black and white is one of the "color-opponent" channels that emphasize differentiation.

• How COLOR is interacting

Color is interacting with the objects within this poster. The deep red color of the man's lips is chosen to inspire deep human emotions. Dark red is associated with vigor, willpower, rage, anger, leadership, courage, longing, malice, and wrath. Therefore, the dark red color of the man's lip uses to interacts with the dark blue color of the jacket (the man wears) to create a very mysterious and heavy mood to the viewers.

The Basic Elements - Magazine design

Scale

http://www.americanthinker.com/blog/2008/08/another_magazine_cover_for_the.html

This magazine cover utilizes one the basic elements of visual communication: Scale. Scale is a general visual measuring tool that allows us to communicate actual scale and relative proportion.  By viewing this magazine cover as a whole, viewers will easily sense that the size of Obama's head is out of proportion in comparison to his body. This creates an emphasis effect and a focal point to the magazine cover. In addition, Scale also plays a leading role in typographic hierarchy. The slogan : "YES WE CAN'T" that is place in the lower center of the magazine cover catches viewers attention because of the use of large font. In short, Scale is one of the common elements that has always been adopted in magazine cover, for it can effectively stimulate our sense of rightness as well as draw our attentions.

Movement

http://bellyspin.wordpress.com/2012/08/06/magazines-movement-magazine-40/

Other than adopting scale as an element of design on the title of this magazine, this magazine cover utilizes another basic elements of visual communication: Movement. Movement is one of the most dominant visual forces in human experience, which has been commonly implemented in different media. Movement tends to imply motion and efficiently lead viewer's eye from one area to another. By briefly viewing this magazine cover, viewer's eye is directed to move from left to right direction because of the direction of the wave flow. The crest of the wave  unconsciously direct viewers' eye movement, which guides them to see the whole picture of the magazine. In summary, movement is one of the elements that interests viewers, which leads viewer's eye move from idea to idea.



Shape

http://www.monster-munch.com/monochrome-and-yellow/ 

The following magazine cover utilizes shape, which is also one the basic elements of visual communication. Two dimensional geometrical shapes, such as circle, square and square are commonly used in graphic media, for they are unambiguous shapes that represent cultural meanings and associations. For instance, circle usually means enclosure. In this above magazine,  there are two notable geometric shapes: a yellow circle and a white rectangle on the background. They combine together and provide a very outstanding focal point to this magazine cover. The yellow circle in the center of the magazine cover works as an enclosure, which "protect" and help emphasizing the contents (text) of the cover. In additions, the white (background ) rectangle makes the whole magazine cover looks static and solid. In conclusion, different shapes express different directions, associations, style or even period of time; therefore, shape is one the the useful basic elements of visual communication.

Visual Thinking Research Original Puzzle

1st Puzzle

Original Puzzle

My task to this 1st puzzles is to find two of the above three bracelets that are identical. First of all, I started by observing the bracelet on the left top corner of the puzzle (the one I box with dotted line) see figure below. By looking at this bracelet, I noticed that there are two red triangle that are pointing to each other (circled with purple line) see (1). Then, I decided to scan at the other two bracelets to see whether they have the same feature. Yes, the other two got the same. 

After that, I go back to the original bracelet and found out the other red triangle (boxed with yellow line) see (2). Then again I checked with the other two bracelets and realized that they also obtain the same feature. 

I did the same procedure as above on and on (see details below) until I discovered a different characteristic on the top right bracelet when compared with the other two. By looking closely to the top right bracelet, I found out that the (3) and (4) red triangle on this bracelet are facing opposite directions (circled with black line) See explanation in the gray area below. On the other hands, the other two bracelets both have the same direction (> >) of red triangles on position (3) and (4), where each bracelet are circled with orange hexagon and green star unfilled shape.

In this specific puzzle game, I used one of the various visual thinking operations defined in the McKim reading, which is "matching". While I was working on this puzzle, I recognized and sought for the desired patterns as a whole and matching it.

*Note:  My father and I had a similar approach to this puzzle and exactly the same result as I did below; therefore, I think it's unnecessary to post his result doubly. Hope you can understand :)

2nd Puzzle

Original Puzzle

My task to this 2nd puzzles is to change the above illustration of rocking horse that made up of 5 shapes to become a fox by moving 2 of the shapes. First of all, I started by imagining what a fox look like. As I recalled, a fox's head should have an outstanding triangle ears. Therefore, I began to look for a shape that resembles fox's ears. I eventually found two triangle that seems like a pair of ears. Then, I moved on this direction. I decided to remove the shapes that are above the two triangle. After that, I rotated and moved around the two shapes and finally I created a face of a fox within 15 minutes. See details below

In this specific puzzle game, I used one of the various visual thinking operations defined in the McKim reading, which is "Closure". While I was working on this puzzle, my mind seems to complete the shape of a fox by itself. My brain unconsciously perceive the whole image by filling in the missing information.

*Note:  Even though my father needed to spend a bit longer time to figure out how to make the fox, we got the same result again.

Reference:
http://www.puzzles.com/PuzzlePlayground/Visual.htm