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r e d x a P n s
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I
l
r i * i l s
' t s A ! 5 u a i . l 3 I d t u o 3
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l
+
l / 4 s s l
1 t ' i e i ! .
This book explores how the human brain
processes
visual information. lt presents
ways to leverage the
strengths of our cognitive architecture and to com-
pensate
for its limitations lt
proposes pr nciples for
creating graphics
that are comprehensible, memora
ble, a1d infornaliv^ ll eyamines l.e Jnique wdy\ we
can provide cognitive and emotional meaning through
visual language. l\lost important, th s book s meant to
rnspire new and creative ways of designing to nform
We depend on visual language for its efficient and
informative va ue As the quaniity
of
global
informa
tion
grows
exponentially, communicating w th visuals
a lows us to coTnprehend large quantities
of data We
often find that technologica and scientific information
s ,o r ch and Conplex. I
(
dr only be
.epreseTleo
through imagery. Using an inforrnative approach
to v.sua anguage allows tl^e audielce lo perLerve
concepts and relationships that they had not
prev ous y realized.
Our neurons seem to be plugged ln to the dig tal
stream, having adjusted to the cont nual barrage of vi-
sual informat on With multiple windows, scrolling text,
personal
digitai assistants, new media, digital imagery,
video on derrard. adverr s rg banrers. ard pop ups.
we have come to appreciate the fact that v suals re-
duce the t me it takes for a viewer to understand and
respond to inforrnation. The sheer quantity
of v sua
nessages relaved ll iough new techno ogy has led
some to call imagery "the new public
language."
Visua commun cation is fitting for a multi ingual,
globar
cLllLre. Us ng basic des
gn
eleme'lls. ts
pos-
s ble to bypass d fferences in symbo
percept
on and
language to convey our message through irnagery.
Gyorgy Kepes, nfluential designer and art educator,
envisioned this in 1944, when he wrote, "Visuai com
munication is universal and lnternational; it knows no
imits of tongue, vocabulary, or
grammar,
and it can be
perceived
by the illiterate as we I as by the llterate."
L Imagety enables us to
apptehend concepts that
ate difficult to explain. By
visualtzing three laye6 of
the human form as distinct
badies and using blured
doubles to exptess mo-
tion, the artist provides a
glimpse of how each inter
connectecl layet of the body
performs whi Ie runn i ng.
Daniel MulleL United States
l0 Visuol Longuoge for Designers
The One Campus Ecosystem: Uniting Your Academic & Administrative Enterprise CAMPUS^
_r.i!rit:
lr r ur,rel ll{.lsrlLenrc
3Ji f ,lr !r, i" efl -!
Irl.,r
\',.:. r. 0 r.0i.arrlri [..svnen]
L Vtsual language enables
us ta depict processes
an(l
systems in their entirety so
we can understand the big
percpective This diagram
ol a campus enterp Se
system details each com
ponent
af the systen while
presenting the global view.
Taylot Ma*s, ANE,
United States
Communicallon lhrough rnagery has other advantages
as wel . To exp ain something h dden from view, such
as the mechan cs of a machine or the human body,
a cToss sect on of the object or a transparent human
ligure works we L When we need to describe an inv s
ib e
process,
such as how a mob le text message s
transm tted, con c forms interconnected with arrows
ar b" u..d
-o
ep e5etl d
.y,r-t
d o
.\
p.e-t5.
O
communicate a difficu t or abstract concept, we may
choose lo dep ct it with a vrsua metaphor to make
the idea concrete Prec se charts and tab es help to
structure nlormation so audiences can eas ly absorb
the facts When we w sh to instigate a ca I io act on,
we find that enotionally charged imagery s the most
memorab e We see that a
graphic
w th humor or nov-
e ty can capture our aud ence's attent on and prov
de
motivation and interest And when the task calls for
an immediate response, we know that a
graph
c wil
prov de qu ck cornprehens on The power ol v sual
comrrun cat on is rtrreasurable
> This snapshot af social
media trends on the
Internet was cteated fol
Bus ness Week magazlne.
The clear and prccjse
pixel graph provides
the
cahercncy we need ta make
cam par t sans, f t nd patter n s,
and appreciate the richness
Ano Ghelfi, United States
12 Visuo I Longuoge for Designers
The Designer's Challenge
The neverending flood of facts and data in our con
temporary world has caused a paradigrn shift ln how
we re ate to information Whereas at one time infor
mation was community based, slow to retrieve, and
often the domain of experts, information is now
global,
instantaneous, and often nthepublcdomain We
now want information and content in our own nands
and on our own terms. We maintain an underlying
belief that it ls our fundamental right to have access
to well-structured and organized nformation. As a
result, information design is exploding as organizat ons
and individuals scramble to manage an overwhelming
quantlty of content Understanding the most etfective
ways to inforrn is now a
pr ncipal concern Accord-
ing to professor of nformation design Dino Karabeg,
"lnforming can make ihe difference betlveen the tech-
nologically advanced culture which wanders aimlessly
and often destructively, and a culture wjth vision and
dlrection."4
Thls has
profound implications for
graph c com-
munication. There is an increasing dernand for the
information-packed
graphic, greater competition for
an audience's vlsual attention, and ever more complex
visual
problems requiring original solutions. There are
requirements to design for
pluralistic cultures and a
continuous need to design for the latest technologies
As
part of this new
path, visual cornrnunlcators
need a
sense of how the mind funct ons Effective informative
graphics focus on the audience An increased aware-
ness of how
people process visual inforrnation can
help the designer create meaningful messages that are
understood on both a cogn t ve and emotional level.
An inforrnative image is not only well designed; t cap-
tures both the feeling of the content and facilitates an
understanding of it The final
product affects how the
audience
perceives, organizes, interprets, and stores
the message. The new role of a
graphic des
gner is to
direct the cogn tive and emotional
processes of the au-
dience. In shaping the information space of a visually
saturated world, efficient and accurate communication
is of
primary importance.
Step lnside
Visual Language far Designersis based on research
frorn the nterconnecied fields of visual communica-
tjon and
graphic design, learning theory and insiruc-
tional design, cognitive
psychology and neurosclence,
ano into'n'alio- visua,'lation. lhe lm"gery ilcorpo-
rates an expansive definition of visual design, exem-
pljJying the d verse fields from which thrs researcn ls
drawn. This type of fusion is natural in a world of col-
laboration, interrelationships,
and blurry dellneations,
and represents the diverse requests that contemporary
designers must often fulfi L
The first section ol Visual Language for Designers
presents an overview of how we perceive, understand'
and acquire visual information. The reader will also be
introduced to the important concept of cognitive load'
which has significant implications in the design of
informative
graphlcs.
The second section
presents principles for creating
as a space for exploration and discovery raiher than
hard and-fast rules. The
principles are meant to serve
as a cata
yst for finding visual solutions and fineluning
one's work. lvlost important, this book is meant to
inspire new and creative ways of designing to inform
With a reflective back-
grcund, this poster caPtutes
the nuseun experience as
it rcceives vatying images
ftom the changing sut-
toundings.
Botis Ljubicic,
'tudi.
lntemational, ooati.
14 Visuol Longuoge for Designers
s t v
l o n s t A
a L l l p u D u o E r u t o j
' 0 s l 0 s
l u l 8 0 u
, , ' s a n l a l o l
l l
l l n u l l s a l d u l s a q l
p u o A a q l o l
6 u r u o a u
l o
s s a u L l l u o s a n t b
q l l L l / l \ ' s u o t s s e l d u t t
l o n s r A
/ n o J a L l l o l u o l l o t u J o l u l s p p o u l o l q a L l L ,
1 N 0 N 0 r r 3
The Meaning of Pictures
A picture
is more than a h,vo-dimensional marked sur-
face. lt reflecis ihe creator's intent and signifies there
is information to be communicated. lt is the artifact of
creative play
and thoughtful decisions, produced
to
evoke a visua experience. Designers create
graphics
with the assumption that viewers will understand their
message-that upon viewing line, color, and shape, a
communication will be transmitted. They assume the
viewer will
proceed
throug! a
grap![c
]n
q glqgry
_
sequence, controlled by the designer's expression of
visual hierarchy.
But how can one know that a viewer will find mean-
ing in a visual communication? How can a designer
ensure that the audience will comprehend his or her
intent? After all, picture perception
can be a tricky af
fair. When looking at a
picture,
the viewer consciously
or Jlconsciously experiences competing
percep-
tions. A person perceives
the two-dimensional picture
these contradictory perceptions while at the same time
attempting to understand and interpret a
picture.
A
suspension of belief, however srnall, is often required.
Also, audience members![ftC]. irttheir pe
ceptions
_llldjnterprelatlonsi
icture,-We cannot know
how an individual will
perceive
a graphic, nor what
thoughts, emotions, knowledge, and expectations the
viewer will bring to a visual encounter. When view-
ers look at a graphic,
their
perceptions
are inevitably
colored by their
plcconeelled
ldaq,
likes and dislikes,
values, and beliefs. This can create a
powerful
bias
toward seeing what one wishes to see,
potentially
missing the designer's intent. Age, gender,
educatiollaL
infl ,an^a<
^n
na..a^ti^.
In a study that examined the
gap
behveen intended
and
perceived
rleaning, some audience groups
.nis-
interpreted the meaning of
pictures
more than half the
time. The author's study concluded, "Despite what ap-
pears
to be a.ros9-cultura! aqllty
!q Lelogf
izJ objects
depicted in pictures,
the vjgual content of an illustra-
tion is frequently a vehicle to communicale a more
iomple-umeaning or intention. Unlike the subject
content of the picture, this intended meaning may of-
ten be misunderstood or unrecognized by the viewer."r
T h e
QLsc
re pa nqbbetwee n a designer's rntention
and a viewer's interpretation may also be due to the
enhanced visual skills that artists
possess
compared
inclination toward the visual. Specifically, when view-
ing a painting,
art-trained viewers spend rnore time
looking at background features and the relationships
i
among elements, like shapes and color. lJntraineel
lgqqs
spend morelllle
lookingat
centra| and fore- ,
gr!Und figures, focusing on objects and
pictorial
el.--
_qnqds.:
Due to this variance rn perceptions
between
artist and nonartist, it is possible
that during the act of
creation, the designer cannot
quite
anticipate what the
audience will perceive.
While viewing a grcphic,
we simultaneously perceive
the flat two-dimensional
picturc plane and the thrce-
dimensional picture space,
exemplified in this catama'
nn information graphic lol
Popul ar Science ma ga z i ne.
Kevin Hand, United States
20 Visuol Longuoge for Designers
Despite lhese cl^allenges, grapl'rc
designers see{ ro
create clarity in their communications so viewers will
accurately interpret the intended message. "This
s
the real measure of the performance
of any and every
piece
of
graphic
design and the
proof
that graphic
de-
sign cannol be understood i'.r isoldlion bur only within
tcommunication context," writes Jorge Frascara in his
essay "Graph
c Design: Fine Art or Social Science?"4
lJnderstanding how people process
visual information
will increase the lkelihood that a designer will produce
graphics
that audiences understand. This is because
every aspect of a
dqsjg!
and
eyqly deslgn
element
IS.tr!t ofu vislql language that conveys meaning to
ience. FortJnatery, we cdn tuin to cognitive
scielce
-the
stJdy ol .ow we thi'tk ard edrn
-or
a plausible explanation of how people perceive
and
eher:Ld
yi.sqq s.,
,
Human Information Processing System
I
Cogn tlve science/emerged from several fields, includ-
,rg cognilive psychology, conpuler scierce, 1e,ro-
science,
ph
osophy, and ingu stics, and makes use
of the computer as a metaphor for how we
process
inforrnation. lt relies on a model known aslhe human
infarmation-processlng syslem to explain how raw
dala from the senses is transforflted into meanin64uL
nformation that we act upon or store away fol later
-use.
Not only does our nervous system continuously
and instantaneously perform
this remarkable.fealy it
cannot do otherwise.
Working
Memory
Our information-processing system consists of three
main memory structures-sensory mernory, work
ing memory, and long-term memory. The input to the
system is raw sensory data that registers n sensory
TeTory. A smal' oortiol of tr s dald passes
o't to
working memory-the equivalent of awareness-and
is represented there. Sofite information is coded and
stored rn long{erm mernory as new knowledge; some
rnformation rnay slmply resuli in perform
ng an act on.
With the
proper
cues, we can retrieve informat on
stored in long-term memory.
For example, when we look at The Starry Night, iIs
colors, brushstrokes, and shapes register in sensory
memory. The main features and elements of the
scene are held in worklng memory S mply seeing the
pailling is
a cae to Iecal lne
painting
s title and tne
painter's name from long term memory. In additlon,
the experience of v ewing The Starry Night will be
stored in long-term memory. With this generic
model
of cognition, we can exarnine information process ng
in more detail,
particularly
in terms ol how we ex-
tract visual informat on and interpret and understand
prctures.
-+
-+
-+ Sensory
Data
Sensory
Memory
--|>
ts
Long-term
Memory
External
Stimulus
The human information-pro
cessing system is the mode,
that cognitive scientists use
to understand how peaple
transforn sensoty data into
mean i ngful i nfotmation.
?? Visuol Longuoge for Designers
t z
; - i q d 0 r 9 6 u l l a I
s u o l l P l c a d x a
p u e
s t e o S
r a S P a l M o u I
r o r r d I q u a l r r o
s n l n u l l s
l e u l a u a
u e 6 q u a l r r o
' s a s s a J o t d
u ^ o p - d o l
p u e d n - a o l l o q
] o
s u o t l
- J U 1 J U l X a l d W O a a q J a o t J
s l l n s a u o l l d a u a d
l e n s \ L
I A U f N C l - L d O
3 u ! s s a t o r d
u r i o p - q o I
' u o t s t A
J o K l l
s a J e S
a q l s n s a ^ E j e q l a ' { a e q l
l o l e d
a q l s t e a ^ o ] a q f
f
S u l s s o J o r d
o n - u o l l o g
, 1
: i
S u l s s a c o l d u M o p - d o ]
p u e d n - u ] o o q u a e e :
e q s u o l l c e l a l u x a l d u l o c
l o l l n s a l
a L l l s u o l l d e 3 l e c
p n s
l \
S u s s a J o . l d u ^ o p - d o l s e u l o u > l ' s u o L l u a l u l p L ?
' s u o
] e l s e d x a
' s e u o u l a u l . l n o I q u a ^ l p o s l e a l e s u c :
- d a c r a d l n o ' E u s s a ) a J d d n - w a ] l a q s e u M o u l s n L n u l l ] .
l p u r a l x a
a q l
^ q
u a ^ l ] p s l s s a u a . l s M e
l e n s
^
l n o
q 8 n o q l l v
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p u s l a q l a S o l s l u a L u a l a
s d n o r S ' p u n o r 8 ) l J e q [ l o . ] J
p u n o l S a l o l s a l P u l L U l l c s l p
l !
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]
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E
s s e u a r e M e s n o 3 s u o t r
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-+
-+
-+ Sensory
Data
-)>
<-
Long-term
Memory
External
Stimulus
Sensory Memory: Fleeting lmpressions
When we process
sensory data, an.jlpression or brief
recording of the orig nal st mulus registers in sensory
memory. Sensory mernory is thought to have at east
two componenls: an icon c memory for visual nforma-
tion and an' echolc, memory for auditory information
Although the impression fades after a few hundred
m lliseconds, it s redlong enough for some
oortior to oersist
lor
lurlhe process rg.6 ln picrJ.e
oerceptron. 0 e pron r"nt features o'rhe
p
cture
along w th our conscious attention nfluence what
will be.retalned.'
Working Memory: Mental Workspace
Because we are compelled to understand what we
see, we need a mental workspace to analyze, ma-
n pulate,
and synthegize infornat on. This occurs in
working memory, where conscious mental work is
per
forned to suppot coglir on. lr workrng merory, we
mainta n and manipulate information that is the focus
of attention, piece together sensory information, and
integrate new inforrnation with prior
knowledge. L ke
sensory memory, working memory
processes
informa-
tion through two systems; v sual working memory pro-
cesses visual information and verba working memory
processes verbal inforrnation.
A profound
aspect of working rnernory is how t heips
lrs
make sense of the world. To undejstand some-
thing. we have lo conpare it with what we alreadv
know. Thus, as new inforrnation streams into working
-
memory we.lnslantaneousl] search through related
nformation n our permanent store of know edge to
Iro
"
nar.h ll we lrd a mat.']. we recogrize the
object or concept and identify it. lf it is unfamilar,
we rnake inferences about it
Both sensoty memoty
ano worKlng memory are
thought to process informa-
tion in separate channels:
26 Visuol Longuoge for Designers
LEISURE
AROUND THE WORLD
Peple eound lh. m d
F@tu ed .rpd.n6 l.Lduts din.6nfy Eonohtc, potittc1, s al, dttlEt and dvtrc.mniat tactoG nio.n th.
D!
Eid En! ot @adonr
ac$dd$ h f,nbh p.opl p{tlclp.l.8nd l! sh ch ltoy haw.@s3 Lolsuts dll'bts@a aF noal.Vdnt whon @mpddnC d4ohp.d.id dNtodio nefonc
THE CUI'UhAL
DtouSTFY
INTERNATIONAL LEISURE: A SAMPLING
ooo
tur+nyhsEtb4
't'.}d.ddhllcljc.d ffidfuF'dohh
d6h-riqb4ibb
M.odd,iikh.hl@b
dfl,bqMffii-i4.d
rDoo
oo
@B
ooo
ooo
oo
@ao
ooo
oo
oooo
fo'e,dnple. upo- vi.!! rg lhi\ n ap. we sepa ale
f gure from ground
and
jmnred
ately try to ldentify
the shapes as oblects We rapidly search through our
knowledge base
(long-term
rnemory) to find a match
for the shapes. This activates our associated knowl
edge of maps and geography.
lf the externa dep ction
of the map rnatches our generalized
internal represen
tation, we are able to recognize the landmass as
"the
wo ld and Lo Jroc .ld'ld llF.y1 bots fton eadirg
the legend lf we cannot dentify the landmass or have
no knowledge of map reading, we wil not under-
stand the graphic The cornprehens on of a parttcular
graph c is dependent on a viewer's pr
or knowledge
and abil ty to retr eve that know edge.
Two wll known constraints of working memory are its
l1
.d.apd..Iy
ard Sho'l oJIatoLAllhoJgl rhe 'a-
pac
ry of worl- Tg reno \ r'o lxFo. dppea.sthat
0n average, a person can rnanrpulate aroLrnd three to
fve chunks of nformaton n awareness at one t rne
7
Thus, working memory is considered a bottleneck n
the nformat on-processing systern One can easily
sense the lrnits of working men]ory by
perfornting
a
sequent al mental operation, such as multip ying two
large numbers. At some point, more part al resu ts aTe
needed to
perform
the mu trplcation problenr
than
work ng mernory can handle That is when we typically
reach for paper and penci
or a calcu ator.
This statistical map was
cteated far a Newsweek
Education m for
high schoal students to
learn how to interprct and
analyze informatian
Eliot Beryman, Japan
28 Visuol Longuoge for Designers
6 2
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u o r l e l a . r d r e l u r s [ . U e u o
] e u r o l u r
p u e ] s e p u n o l a l n l l P l
e u r
q t n i e r u a u o
t c i l a
p e o U a t i i l u o t l e u r o l u t s s a c
- o r d
^ l a l p n b a p p
o ] , ( l l c p d e o a q l a ^ e q i e B u o l o u o M ' f t o
- u r a u r 8 u r ) l r o M u o u r d u r i
p e o l e ^ r l r u B o J q S r q e u a q M
. , u m o u r l a l e
- , , o
L U e L u r r t t
" ^
t "
r " : : : 1 i l : : i :
: Z i
, { l s n o r c s u o c ' s u o r l e n l r s
l a ^ o u
q l M E u r l e o p ' s L U e l q o l d
8 u r ^ l o s ' u o r l e u r o l u r , r a u b f , e s p s E u r q l q o n s
e p n l c u r s ) l s e l E u r p u e u r e o S u r x e l a l r n b a r e s ) i s e l l a q l o
q 3 n s
' u . r o l a d e M s > 1 s p l a A
l r u 8 o o
o t l l j o I u e u t e l t q M
i g o u a w B u t l l o , \ u o
s p u e u e o
r p e o l e a r 1 r u 3 o 3
1 l
s e l e l s p a l ! u n
' s a w p H l a a ! N
' s A o u e p u e ' S u t J u e n b a s
' s u o t l e i l s n l l t a t u o a t s e
q c n s ' p e o l a q l S u t J n p u ) o l
s a n b t u q . a l a
l p a j l a l u e ^ a s
s a l u o o t u t t l t e a s a l
l l a c
u a l s 3 u t u E l d x a c t q d e J E
_
s l l f f t o w a w S u i t l o / t u o _
p e o l a A t J t u S o J a q J s a s e c u l
u e t u o J
E u B u a l l e q )
>
s e t e l s p a t ! u n
' U V l e . l p e a o t g
J A l l n w
3
D ) e P e H
, a
n h l
t u e p e H a u u e o l
' s a l o u a u
l o
s a d n s n o
4 a w n u s u o J s f u o u a w u ) a l
- 3 u o l ' a u a 2 s a t u j t d l s o c l
e s a ^ t a s q o e q s e u e a a u o
u t p a l e A r J z e s a D o a e u a q l
s l J t d a p u o t l u l s n l l l s | l l
<
Print Design Process Guide
OISCOVERY DEFINITION
Encoding. A though some nformalion s automatically
processed from work ng memory nto longlerrn mern
ory without conscious effori, encoding nio long-term
nemory
generaly involves some form of consclous
rehearsal or meanlngful assoc ation lvla ntenance re-
hearsa s simp
y a matter of repeating new information
until it is retained; e aboraiive rehearsal occurs when
we analyze the rnean ng of new inforrnation and relate
it to prev ously stored knowledge in long terrn rnemory.
Research suggests that the rnore ways we can connect
new inforrnation wlth old infolrnation, the more lkely
er( od
-g
lo lolg te'rr reno'v.
Eerc
E.-*
.
i;lti,l':i:.',*r":.,
DESIGN
Depth ot processing. Cognitive researchers think that
depth of
processing sign ficant
y
affects how likely
t s that inforn]ation w I be reca led from long ternl
memory When a v ewer focuses only on the
phys
cal
aspects of a word or
graphic, the inforrnation s noi
stored as deeply as when the v ewer focuses on the
semantic aspects, which are those that have mean-
ing For example, if a viewer concentrates only on the
shapes and colors of a
graph, the information wi I not
ao a.n ac -pil a< ^p6-t\.
"\
i
1o
a.rson
StLd ed tl^"
graph, folowed the fow of explanatjons, and under-
stood ts meaning. Encoding at the semantic level
s super or to encoding ai the
perceptual levei. The
'-nporlall
oo 1r that ca11ol oe overeffo'as,/ed is
that we have a superior rnemory for anything that is
processed at the leve of meaning.
Depth of prccesstng can L
u ndetstaod by observl ng
this chaft that depicts tht
pracesses of print design
Fol lowi ng the harizontal
path af each
process fal
a coherent underctand I nB
rcsults in deepet encodin
than facusing only on the
layaut, colots, and shape:
of the elements.
Gordon Ciepl'
Schwattz BGnd Grcl
United Sta
3Z Visuo I Longuoge for Designers
E
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1
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p a j o l s a ^ a u l e r 0 1 p a n f , - l L r o L ! a u L L l l a l - 8 u o l u a q M
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l o
a q u e f , s e n s
l g ^ o u l a u
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p 3 ] P
r c o s s e s a l P ^ l l c e
l e q l
l o l l P u . l . r o J u l
] o
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p a q s l d u l o l f , e s e 3 a l u o l l e u l . l o l u l
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s s e c o r d p r P l 1 ^ r o l q 8 e l l s e S I P M e
1 o u
s s q l ' p a f , u a
- r a d x a e a ^ e q a / s P ' ^ l a l B u n u o l u n
I
p a e u a M u a L l M
u o
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u o
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p u v S u t u e e l e ) u a ) n x a a
s r q l
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M a u l o a 8 u e q J s e L u a q c s u a q M
' u o q e u - l l o l u
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a l e l u . r s s p o 1 e u j a q o s P 3 u
l d e p e
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r o u d 0 1
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p u e u o
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M a u l a l u n o f , u e
a M a L u r l
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l o
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a q 1 o i 8 u
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^
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p u ? ' 3 u
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: l o o . r p u p s . r o o p ' s M o p u r M s u l o o l
q l l M a l n l c n . l l s P
: e '
a l d o a d e r e q M o c e l d e a p n l J u
] t l S l L U
a s n o q l o ] e u . r a L : :
l e . r a u a 8 V
a s n o q e s e l n l t l s u o J t P q M l o
e u l a q a s
p 3 '
l e r e u a 8
e a ^ e q a M a s n e f , a q s t s l L l l a s n 0 q u ^ 0 1 e - :
' o s n o q u . u e , r e ' M e . l l s
p u e p n u l
1 o
p a l s n ] l s u o J
l n q
e :
l r
J e L l l a q M ' e s n o q e s e
l l
^ l
l u a p l
o l o L q e a l e a M s a , - :
- 3 n i l s e s a q ]
l o
o u o l a l u n o c u e a M a u l
+
l . l c e a ' a n b L -
s r a s n o q
q J e a q 8 n o q l l v
l u a u l l o l l ^ u a
S u l p u n 0 l l ' :
a q l
p u e ' s o ] n l x a l p u e s . r o l o 3 s ] l
' l I n q s
I
q c l L l M L L C , -
s e L a l e u r a q l ' a A l s
l P . l n l c a l L t l 3 l 9
s l l o a l l o u a M a s n ! -
e a e s a M u a q M s l d a c u o l u a a l \ ] a q s d L l s u o l l e a l a - :
p u e s l d a c u o J
l u a s a r d e . r i e q ]
s e u e q o s
p u e s a u e l s
p - z
s l 3 a t q o
l u a s a . r d a l l e q ]
s e L l ] e q t r s a l e a ] a q 1 u o l l e ] u a s a -
- d a r p a z
l e r a u a 8
r o
l 3 e ] l s q e
u P s l e u - l a l l c s e ' s a l n l e e :
a n b r u n u o s o s n f , o J
l p q l
a 3 u a ] e d x e P n l d a a ] a d P e ) l u n
s a c u a . l a , t u 3 u l ) l e L !
P U e
S u r ^ l o s u . r a l q o r d s e L l f , n s ' s a s s a S o l d e l ! a u J
] t r n p u o l
0 :
s e L u a q J s a l s ^
] o e
I l p l d e l a M a 8 p a M o u ) i
^
a u S u l l e . l S a l
- u r l o l ) j r o M a u r e l l a q ]
p u e u o
] e L u l o l u t
M a u B u
] a l d l a l u
r o l
l x a l u o c
e q l a t p , { a q l p l l o M a q l
l o
S u l p u P } s . r a p u n
. r n o , { p o q L u e
l e l l }
s u o
} e } u a s O i d o l l o l l o M l a u
a } P r 0 q e a
p u e o A s u a l x a u e u ] l o l s e u . l O q t r s s e u l a q f , s
p a e l
s e r n l c n . r l s E l u a L u u r p a z t u ? 3 i o s , { l o L l . l o t - u t - L l l a } 3 u o
u r e B p a
^ / \ o u ,
a q l
l e q l
a z u o a q ] s l s r l u a L 3 s a ^
l l u 8 o C
z r ' l l o l B
l . l e q o u
p u e
q l e q e z r l l s r a L l 3 r p a s a r a l l M
, , ' 3 u
u e a u I a q l
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s L u l a l u L
' f e a d s o ] o s ' A ] o u a u ] o ] , u t
] U ,
a l e u 0 l e L l r o l u l
l o
s u a l l
M a N
' M o u ) i
^ p e a l l P
a M
l e L - l ^ A l 0
s L u ] o l u l u 0
] e L u l o l u !
l e q l
E u
] a r d r o l u r
A q r a q l e r ' l n q u o
l e L u l o l u ] e L l l J o
^ d o t r
l e r a l L
a u r o s 3 u p . r o 3 a l , { q
} o u - ^ l o L u e u
u l
p a ] o } s
s u o
l e u l O l u r
l a N , , s n o l s u e a u l
] L ] e q M J o
s l l l - l a l u l
u o
] e L U r o J u
S u r o l s
p u e 3 u l ^ l l s s e 3 A q s
q l a ^ a l q 3 s a M
' ^ l S u L s l . r d r n s
l o N
L u l o l a q t s s o S l e u e u
] l
p a a u a M
' I r o L L r a L U L u r a f 8 u o l u l e 8 p a l M o u l
l o
a u
] e l i
e a l o l s o l
s N o l l - v r N S s S u d f u ' l v l N S t l
: s v t
l S H l s
Automaticity. lvlany schemas, such as word recogni-
tion, become autornatic through
practice. over time
and with repeated use, more cornplex nrenta opera-
tlons also become automated w th practice. When
th s happens, tfe
procedure is processed with less
consciols effort. Since working memory is the space
where conscious work s perforrned, automaticity
decreases the load on working memory
14
A
gooo
erarple ol lhis occLrs as sorreo
o
learns
to read. Upon one's first encounter with the word
cal, three letters or three perceptua unlts are held
in workilg nerno y wh, e the wold i5 deciofered As
a reader
gains experience, the word caf is chunked
nto one
perceptual unit unt I eventualy, recogniz-
ng the word caf becomes an automatlc
process with
Ltt d.imposit on on working memory. t
js
not uncom
mon for people with expertise in a field to
perform
a
task without needing to pay de iberate attent on to it.
As tl"e dJlonalic IV of the sL he-nd
.f'ees
Jp cognitive
resources, the expert can use work ng memory to
competent
y deal
W
th more complex tasks, such as
solvlng problems or handling novel s tuations. This can
be observed in experienced athletes, master teachers,
and expeft designers.r5
Mental models. Whereas schemas forrn the underly-
ing structu[e of memory, mental models are broader
conceptualizatrons of how the world works. Menta
models explain cause and effect and how changes
r one obje(t o'
pfprone-or can LaLse Lhalges r
another For example, users of graphic software have
a mental model of how layers operate The mental
flooel coltains hnowledge o' 1ow a laye, t, df'ected
by n oving il aoove or be ow
"'ot-er
laver
dr o l1e ef-
fect of increasing or decreas ng its
idpacityl
Thls mental
mode is easily transferred to any
graphic software that
uses the same
paradigm. Thus, mental mode s he p
us know what resu ts to expect.
Wllh a0 understanding of schemas
And
mental mod-
-
els,
graph c designers can begin to conslder how an
-_aud
ence m ght understand a visual form of commun
cation. When someone looks at a
graphic, the objects,
shapes, and the overall scene act vate assoc ated
schemas and mental mode s that enab e the viewer
to rnake inferences about the visual and construct an
interpretation of it
l
< Created fot the NRC
H andelsblad, this gftph ic
suggests the autonaticity
many af our acttons.
Rhonald Elommesti)
The Nethetlan
> This graphic portrays a
novel way of seeing the
i n teffel at i onsh i ps i n here n
in cognitive processes
Lane Hall, United Stal
34 Visuol Longuoge for Designers
verbalnd visual information appear to be processed
lt may not be possible
to fully predict
how an audience
through separate channels, referred to as dual coding wlit peiceive
ano interpret a o cture because of the
One channel processes
v sual information that retains comp ex nature ot t'tuman experience and the variaote
the perceptual
features of an object or
picture
and cognitrve sk lls among individua s
yet
an awareness
one channel processes
verbal inforrnation and stores of an audience's cognitive characteristics caf bring
the information as words Although the systems are clesigners c oser to thls goa
In het l)ook Research inta
ndependent, they communicate and /nteract, such as lllustration, professor
Evelyn Goldsmith categorizes tne
when both image and concept knowledge are retrieved cognitive resources and abilities that couid affect an
frorn long-term memory. For example, upon hearing individual,s ability to comprehend a p ciure.
IhF nane Sa,vador Dali, a oerson mrghr retr.eve borl _
image-based and verbal information from long-term The first cha racteristiciis deveiopmental level.'The
tion about his life
t es. A less skil ed viewer may interpret a
picture
liter
a ty although the ntended meaf ng is metaphorical.
This dualsystern of processing
and storage explaifs The abi ity to interpret more complex types of visua
why memorized information is more iikery to be re- expression comes wlth mature develoDment. Arso.
trieved when it is stored in both visual and verbal form. visual skills vary w th deveiopmental level. Visual skills
'
That is why as-sociat ng graphlcs
with text or using an such as depth perceptron,
color drtferentiation, and
audio track with an animation can improve information
acuity vary at different stages of deve opment.
recall. Placing piciures
together with words also allows
informat on. In terms of graphic
comprehens on, an in
dlvidual capable of nhibiting distractions w ll be better
aDte to concentrate on relevant information ln a visltal.
Not surprisingly, younger
viewers find it more ditficurr
to c ose ll-ei. n ,nds to e,(lraneous rfor-nat,on.
DUAL CODING: THE VISUAL
AND THE VERBAL
THE AUDIENCE'S COGNITIVE
CHARACTERISTICS
> The cognitive ct,
tics of developmer
and distractibility
into play when des
fot a young audien
display gnphics
u1
colors and hunaro
lustratians for an a
Grcg Diej
McCullough
Unit
36 Visuol Lqnguoge for Designers
Politics & Potential
;
Which is 4.Bx
our energy needs
This infarmatian gtaphic vi-
sualizes the potential global
usage of wind eneryy de-
picted in maps and gtaphs.
Advanced developmental
and visual literacy levels
are requircd to comprchend
comptex gnpntcs.
K stin Clute, Univercity of
Washington, U n ited States
a. . 1F r h:-j^-dr
(-
I'
he iSt S v.s.t"
-
iteracy Although it rnay not take training to recognize
the objects in an mage, a comprel'rens ve understand
ng of a
picture invo ves the ab lity to fu y decode
the visuaL message Knowledge of the symbo s and
g'ap1 ^dl devi e- Lseo
"
oTe
s JllJ
o
d\ we as aT
understand ng of the context are req! red Learning to
accurately read a
picture is a resu t of education and
experience.
For examp e, it takes an advanced leve of
vlsual literacy to analyze and interpret an nformat on
graphic using many types of
graphs
The audlence's leve of expert se shouLd signlficantly
affect design decisions. Expefience w th the content ol
a p
rtLre
s d T oo'dr p eclc-or o'd v,etue'. ob ily
to comprehend a graphic. Experts are known to orga-
nize complex
patterns n the visua env ronment lnto
fewer perceptual un ts, wh ch reduces cogn tive load
Thus, riewors w r oor ain-specr' . e,par
on' o
dro ecq
I kely to
get
over oaded when
perceiving a complex
vlsual as cornpared to nov ces.
Mot',d!,on s o r
pona't foctot
-
*'et'et at aud -
encF-..r^r-berrll hai.o lere tr- o
p,ct .r. Av^$
er's motlvation s iypica ly based on his or her
goa
s
for view ng the
graphic s the
graph
c being v ewed
for aesthetic appreciat on or s t required for perform-
ng a task, such as fx ng a bicyc e? Does the graphic
explaln a conplex concepi that must be learned? Or
is it albland marketing ma ler for wh ch the v ewer has
no use? With enough nrotivation, a v ewer wil altend to
and work at understand ng a
graphic
Visuo I Longuoge for Designers
6 E
s l
q d D . r ! 6 u
] ] a C
e p e u e c t a u e S u e t u r N
s o 8 e u J l
p u e
l x a l
e l e ] 8 a l u
l l M
a q s l 0 a q , ^ 0 r l :
- .
s l n o
I
P J p u e ' S u o r l d e c ' s a l l ] p e a l l l l o M a A a L l l : '
M O r l s ] l o l l P o s e
l e ^ a
S u l p e a u
e r
u O l l e L u l o J U l
l u P u 9 : -
s s r L U
^ P L r . r
p u e J e u u e u l
] u e l c l ] e ] s o u l
a q ] u a l n l l : :
o l u o
l L r a ] ] e l P n s r ^
. r o q ] S u l l e l o l e
] e
p a f , u a l ] a d x t : -
l o u
^ e L u ^ a q f
u o r l P L u r o l u r
l u e ^ a
e l
l s o L u
a q l 3 L r :
- - ,
r o I q o r e r o
q
l p n s L ^
p
3 u M o l L o l
] e l u a t f , l o l d
a q
] o !
i : -
s l o ^ e l S u r p e a r M O I L l ] t M a d o a d
' 3 q d e r 8 e
i o
8 u
p - z - .
r o p u n s , r a s n a l l l o l p r . r o d s a l . l o t r u a u o s l
l s
3 u
p ? : :
' u E
s a p o A
l 3 a ] j a + o l u e u - l a l
n b a l
l P J U O L u e p u . :
:
s r e . r n 1 n 3 c r l s r l e . r n d e
, L O
s u o
J u a ^ u o S
a ^ l l l u S o l a r l ] i -
l e p o L ! u . r o 3 3 e
' a s P a r l u 0 ] s e n u
] u o f ,
s e a p
p u e e l o c : :
] o
a B u e q J x a e q o E a q l s V S u r s s a l o l d e ^ r l l u S o ] s l 3 a - ?
a J n l n l a r o , r e r e q l p u P ' a r n l l r d e
l a l d l a l u
e l d o a d
q t r
- ' r
q 8 n o ] q ] , s u a l . r o
l x a l u o o
a L l ] s e p
^ o l d
a l f ] n l r ^ e . :
a u ? ! o ]
' a 8 e n 8 u e l
l e q l e ^
q l l ^ s u O l l E L l o s s e e n s A
p ' :
' u o
] e l a . r d r a l u L
r o l o c p u e
l o q u l , ( s
' 3 u l ) l u q l
J O
s u r a l : :
p u p
s ^ e M
p a s e q
^ l l e . t n ] l n J
a r e s l l r i s o ^
] l u 3 o o
^ u ? ,
.
' u o r l e e r 3
3
q d e r E u r . r o 1 3 e ]
l L l P f , l l u S
s . l o t l l o u P s a r n l i ; :
'
l e a q J
e l e d o
a q l
p s u o t J t p u o J p a d w u a
a q l u t e l o x a a l p a s n A l e ^ ] s
u a l x a d e s l n a l l e i ' p l e ] a l
S u r u r o n I a u P ^ S a i l . j - / o , l
J t q d e B u o t l e w ) o l u t s i t l J
u l a c u a t p n e a q l
] a l a ^ e l
9 r t n D ) t . t n . t < . t t t . l o t F
x a l d u @ u t ) a p l s u a a o J
l t t \ s
a ^ t J t u S a a
l u e l ) o d a t
u v
t l t l
t c v 3 o 1 5
N n t S o I o n v
a u o s r c q s d e l d . p 6 u 0 4 6 !
r a i q d $ s s u n ! t o i E
! t n D i o r
INFORMATIVE VALUE
Another aspect of cognition relates to a
graphic
s
informative purpose. ln his hook Steps to an Ecology
of the Mind, Gregory Bateson writes that information
'is
a difference that nakes a difference.': This state-
ment is
profoundly
true for visual communication. The
visual language of a
graphic
and every compositi:onal
element it contains
potentially
convev a message to
the viewer.
By determining a
graphic's informative purpose,
de-
signers can strategically organiz! q
elgll!i9
!o
inl/gk!
-the
nlosl suitable menlal plocegs_qs. For instance,
some
graphics
only request recognition from the
viewer. They require the viewer to notice, to become
aware-of an organization, an event, a product, or an
announcement. These graphics must be magnetic to
JEIgct
the vrewer's
lttentiqlr
aQd susJajrl
jlJor
as Long
as qosslgle The viewer's
lre_clgd
tq1!g
most important information. And theIapbLc shqqlq
-!gj!qlnq[eqle,
so that the viewer encodes the mes-
sage into long-term rnemory.
other
graphics
are created to extend the viewej's
knowledge and reaso|ing abilities The va ue of maps,
i-ngrams, graphi, and Information visualizations is to
make things clear and move the viewer
beyond what he or she could
previously understand.
Upon viewing one of these visuals, the vlewer should
be able to see new relationships. Here, the
graphics
must be clean and well organized;nd must accom-
modate ease of interpretation and reasoning. Then
there are
graphics designed to assist with a task or a
procedure,
such as assembling furniture. In order for
the graphic to be effective when th_e-viewer beconles
-a
user, it must be accurate and u[ambiguous, leaving
no room for misinterpretation.
By understanding the mental
processes
required to
!Eg!
qpggitg rnformative goal!,-designers can find the
most suitable graphic approach for their
purpose. The
principles
discussed in the next section of the book
describe ways to achieve this.
> The rich, striking texture
in this promotional postel
make it memarcble.
Ad an Labos, X3 Studiol
Romant
f An effective visual expla
nation, such as this depic-
tion of how a digital camel
operctes, must be efficient
and oganized to prcmote
ease of comptehension.
Kevin Hand, United State
40 Visuol Longuoge for Designers
a n t S l a S
l u o t v 4 s n
l
) e h t A n o
l a n u e w - u e e r
t a t A l i n O
P n u e W - u e a l
s . r l o u a q l 0 f , / 3 a f l r a / . s
t v
u t u 6 s a a
3
) 1 6 0 1 ' , L t v u u v S l l ^ l o u )
, , ' l r o r l o r u l o l u l
t l s o l l
l o
t l n s l n d
a q l u ! a s o d r n d a l o a l f o l A l a ^ l l D u l 6 o t u l
l l . A o l d a p ) o l
p u o
a 6 p a l i n o u l s o u o l l o t u r o l u l a l o p l l o s u o f o l L { t o q
A t ! l l q o r n o u o d n
p u o u a p s a l o l . u
t l
' p u l u i
l o
p l l o / Y \
a q l u l a l u a s a l d a ^ o q
p u D a l q o l o u a u a l o
l o q l
s b u r q l : s b u r q l
; o
6 u l > 1 o t u a L l l
t n o q D
s r u b t s a p 1 o 1 , ,
d n
i l
a 6 r o q f , : g
{ l r x a l d u o l { 1 1 . t o 1 3 : 5
a l a , l t u o l
l f , D l l s q !
a q l a I D l . l : ?
u r s ! l D a u e t n p a u :
s a l f e r { t
t f , a r l o
: Z
u o 1 l d a u a 6 r o l a z ; u o E r g : 1
0 / l l N o r r c l s
s v
u o t d a l . r a d
. r o l a z t u D 0 l O
e J U a B
l a l u
B n s A o n b L l n e q ] M s u
s a p r ^ o r d
] ? q l
u 0 l S e r a l u r
p o o l s r a p L l n a l l l l p u e x a o u o i l
P L U . T O J r O r S r ^
] O
S e 3 e l s O , i r \ ] A S C q I a d O A d S P S a d e q S
a q ]
4 ] L r a p r
p u e a z L l E o l a l 0 1 L t o L L l a u L l . l l a l 3 u o L l l
p a r o l s a S p a / r \ o u l s o s n
p u P s a l n l e e J 0 L 1 l e s a s o q ] o ]
u o
] L r a u B
r n o s l a o ]
p u o s A l a l e l I q d e ] 8 e u l a a s a I
s e r n l e a l - r o o f p u e s d e q s a q l . r o l s 8 a l
] q E l u
e r ' ' u o s
^
t r . r ? e
] o
u a l s , { s
l p n s
^
l 3 ^ a
M o l e L l l 3 u s n ' o l d u e x e l o i
s l e o 8 p L r P s u o
l P l f , a d x o
' a 8 p a l o u ) l S u l s x e a l d l n o J o
_ o
e t L o , o , d o . . o
q t l a ) l s E l u e u q S n o r
l o
t u r o l a u o s a l e a l l o M s s A e u E
e n s
^
p
d e r s r l ] r l o r l
r , . , { } r a d o - r d l u e r a l l
p P a z I e u e o }
p a z r l e f , e d s s
q t r q M l o q a e a u e l q e L l l u l s P a - l E
] u e . l o l -
I
p o l u r p e d d e L t ] , . A l o f
l ] s o l u
s E l E p s l L l l u o l s s a l o L L l
E r a ^ o u e
] a 3
o ] e ] 8 p ? n l d e r r e d M e l
l l ? . l l x e
e M s a l n l
P a ]
l e n s r ^ l o
e f , L r a s a ] d e q ] E u
] l a l a p
u o d n
l 0 o l
o 1
o . r a L l M
] o
u o l l l e l e s s n 0 r f , s u o r P u P i l l l a q l P l
' ( s n
n u l
] s
P n s r ^ 3 q l )
l l a l q o
u P
] 0
s o ] n q l l l B o q l A q u a ^ l p s
u o r s r A
i o
a s E q d
l s r I
s r L l l
] u a L u u o . l l A L l a
a q ] u l s o l n l e a ]
] l a l a p
o l p e u e f s
^
a p M e s u e i l s , (
p l d B l L l o l s
^
^
l P l
s u E a q a l B ] a q l a l o i l e q
l - z - :
p e a L l e r a u u n - r P 3 u A E o ] l u e l e ^ n b a s s l l - ] l E u s s : -
- o r d u o
J e u . r o J U
e n s A d n p a a d s o l u - l a l s ^ s E n J d a r , : :
e q ] o l ! o r l L S L n b l P u o L l e u l . l o l u l
l l L q s
o l s E o 8 a q l L a ,
- d a f , r a d u e u r n ! l s l u a L U o l d t u o t ]
o s l r q d e ] S B a z u e E , :
p u e a r n J l n r l s u ? 3 s r o L r E r s a p e S e L u l u P a z ^ l e t e
^
! ? r -
s . r e M a
^
M o q E u r p u e l s ] e p u n , { E u E s a p p u e u 0 l l ? f
n L U L l O r f , r q d ? r 3 o ]
p a d d E a q u e f ,
l e q ]
q l ] e e s a l
- -
l P a p l e a . r 8
e
p a l ? r a u a 8 o ^ P q B u s s a l o l d a A
J u a l l e e r :
p a l L e l u o L s
^
^ l l P a
q ] r M p a l e f , o s s B s o s s a J o l d a u -
u o
l L r a l ] ?
r n o
p e s n ] o l I s n o f , s u o J a ^ e q e M a l o l a q I s s o l l o l l a
s r n l f , o s L . l l l 0
l v
I B d s p P n s A a q l u a S u e ] - l o c l u l
l o B u L q l , { u e s t
a . r e q } l S L l l } o u u o
l e L L l l o l u
o . l u l l l e o l
a r n l J d e u e c s a M
f o u e
s n o l l s u o t
] n o q l
A \ ' ^ l P u r L S
l u a L u u o r ^ U a
a q l u r a l u P u o d L L l
l o
3 u q ] , { u e s l a l o q }
l
E L r
] o u . ' a r e q l l n o . ,
s
l p q M l r o q e
u o
J e u - l l o J L l l ] l P l l x ?
o l s B u
p u f o . r n s r n o u P l s a A \
u o J l a
s n o J s ! o a
l n o q J , \ r
' a l d L U e x a
r o : s o . r n l S d 3 L l
p u E l s . r a p ! n p u P E u l ^ l a f , l a d
o l s a s s a l o r d a u e s o s a q ] A d d P o l e l q e a l P a M
l a l
I U a L U U O T A U A . T n O
U
i e A
^ l n s . l o l
A . l e s s a f , a u s ) l s e ] u - l o J
- r a d s n s d o q ] o l r E e
^
q P ) l . r P u . l a l s l L l . l o l s ^ s
l e n s A
l n 0
t 1 ' t d t S N l u d
+t +,ilf t +f +f +f,,il
aaaaaaaaaaaaa
+f +f f 1T+++f +f fl
+,il+,ilri +f +f +f f
+f +,il+t +,il+t f,.,il,il
+++f +f +f f
,ilf,,il+
+o+,ilt f +f +f,+,il+
+,il,ili,ilf
++
,il ,il
ff
!i
'il'ilf
T
L Designed as a picto-
gtaph, this postet (left)
conveys the loss of life frcm
AIDS by taking advantage
of ou ability to quickly
detect differences.
L ln this
poster ( ght), the
designet uses a pictagrcph
to depict the rclationship
between the source of HIV
ano nunans.
Maziar Zand,
M. Zand Studio, Iran
+i +f f f f,,il+f +f f
f,,il+,ilrt +++f +f
,il
+,il+,ilt f +,il+fr'+t'f
+f +f +t +,il+t +f
,il
+++f +f +,ilt f f,f +
+,il+fff+f+++,il+
f,'il++t'f f,f e +f f t
f,+f,i'e'il+f +sf,t'il
I ef,cfr'fe f,e cf,f e
Parallel Processing
The initial visual analysis of
preattentive processing
is rapid because vast arrays of neurons are working
in parallel. We typically detect features with low-level
vision at a rate faster than ten mllliseconds oer item.3
To better understand the
parallel
nature of early visual
processing,
search for the red symbols n this AIDS
awareness
poster (above,
left). Rather than
perform
a
serial search through every single figure in the graphic
our ow-level visual sysrerr immediately perce,ves
the red figures among the field of black ones. These
features tend to
pop
out and
grab our atteniion.
Serial Processing
In contrast, later vision, which is
gulded
by our selec-
'i
ve attention,
performs visual operations more s owly
throug n item-by- tem, or seria
,
search. Trying to
delecl t l-re red f;male {ymbols in the m&e com-
_olir
tietc ot lh s second AIDS awareness
poster is a
s ower, more laborious process (q!gye.
rightl Because
the female symbol shares a color
property with two
other symbols. red is no lorger a u
que
feature
46 Visuol Longuoge for Designers
L V
u o
t d a l . r a d . r o J
a z r L r 0 b r o
' s a 3 P ] r e l u r
l e c r u q J a l
p u e ' s u o
l e z l e n s l A
u o
l p r l u o r r u
' S u r p u U e M p u e s u 8 l s S u r u r e M ' s l P r a l e u l
p u e ' u o r l u a e
q P . r B ' , a l e l u n L U L u o c I l f c r n b o l r e u B l s a p
p
s a q p u a s a l o q M o l u s l r P d B u r d n o r 8
p u e s e j a l e a l
a / l L L r o
r o
u o r l e u r J r l ) s r p - s J s s J l o r d
l e n s r ^
d ^ r l u d l
- ] e e . r d s , r e M a L ^ e o 1 s f e e d s
l e q l
a 8 e n S ! e l
l P n s
^
3 u s n
s l r u n
l n l 3 u
u e a L U u r u o r l e u - u o J u r
l e n s
A a A a J r a d
s r a M a r ^
l q l
a r n s u a r e u S s a p e d l a q u e r
l d s l u o r
3 u l
d n o r 8 a q l
l o
u o
] E 3 r
d d v s a l S u e
l q S u l e
S L . r l 3 a s r a l u l
s a u
I ] q E r p r l s
r n o l u e q l r a q l e r a r e n b s a q l
] o
a d e q s
e l o q ^ e q l a a s o ] p u a l o M a r e n b s e e ^ r a c r e d a M u a q M
s . r n c c o
l d e f , u o 3
s r q l
l o
a d u r E X a a l d u s
v
p e p r ^ r p
l o u
s r u o r l u a } ] p r n o q c r q M S u o r . L r e s l . r e u r
r o
d n o r 8 , { u e
s e
J o l q S n o L l l
a q u P f ,
]
u n e n l d e c ] a d f , s e q
v
a l o q ^
a q l o l p u e r a q l o
q 3 e a
0 1 s l u a u a l e
l o
d r q s u o r l e l a ] 0 q ]
l n o q e
u o
] e u r j o l u r
s a p
^ o r d
s r q l s l L U n
l P n l d e c ] e d
r o
s d n o l B o l u u o r l p l u r o J U r / t o s u e s a z r u e S j o a ' u o r l u e l l P
3 u r ^ e d
^
s n o r J s u o o o l o l a B r a q l e B o l o B s t l e d
l e n p r ^ r p u r
L J r J 4 S n
\
l d
3 J d " O r 3 . O S S a J O r d a ^ D l O . l ? a , d d .
' e 8 p u r u e
l o
s e u a d o j d a q ]
l n o q e
s n
l l a l
s e r n l e e r t e ^ r 1
- L U ! d
] O
u o r l p u r L U r c s l p p u e u o
l c a l a p
a L l ] s P O r a q M
s s e J o . r d a ^ l l u a l l e a l d
p e l e l a l e s l
p - ? s - - q ,
p L e s l ) J l q o l J n u a p . \ n s o 3 q O o r l a = - J - - -
=
u M o u ) l ' s s a c o r d s q I
' a 3 e l r n s
P
l o
a S p a a q l - : - : c 4
e s P
u
a ^ r a c ] e d e M ' o . r n l e a l e j o u o L l e n u l l u : : s : { i
a O S A M U e q M e o P ] l n s e u O S a l n l P a j l P l t ! l S
i :
s J l A
s e e a s a M
q o r [ ] M ' s a r n l x a l u e e M ] a q a l e u r L u u c s . -
= r t
M o l e o s l e S A ] n l E A ] A A I ] I l j l U d u o l l u a P
p a s n 3 c ; ; - . : 9
a f , u p p r n B o q l q 8 n o r q l s l J a f q o
I n ] 8 u L U ? a L U
o l u t s : - - : a ,
a s a q l o S . r a u j r a l p l a M a z r s p u e ' u o t l e l u a t l o
- - ' - r G
- l n p a 8 e l r r u e
l o l n o
d o d o l
] u a u t o l e
e n s l ^ 2 Y r J l l
l e q l
s a r u o d o r d a n b u n a q l a r e s a l n l e e ! a L .
' 4
' s l r u n
l n l 8 u t u P O L U
o l u t u o L l e u l l o l u l ? - s ,
3 u ! d n o r B
p u e s a r n l e a l a A
] t t x I d . S u r l e u r L u u 3 s i p - l x ,
- e z r u e 8 r o e n l d o o r a d
l o
s a d ^ l L r e u l r d o M l L r . | o t e c 7 .
' s r s l l e u e
l e n s
A s n o r o s u o c a r d r n o 3 u t n 6 s a u : , - e
s l o p
p o ] l a u u o c s p
l o l a s
J
l o p r ] o
e e q o l r e o d d P l i
-
e i n l r r o
p
r o l e z r u p 8 r o
p n o a J , d d
l r o q l t M
e l e : i - -
- - a s o l J ) u a j a q o J
p . o 4 . . - - l l s s J ^ E 0 L P s u o . i d e : / T
r n o s a z r u e 8 r o
1 l e q ]
s r u o L S r A I l r e a
J o
a o u E S t ] t u 8 i s 3 - -
u o l l e z l u P S r o
l e n l d a f , r r d
s a l e l s p e l t u n
' u a $ a o U
' u o E e w l u v
' u o l p 4 s n l l l u a t t s a l l p ! ^ e o
' u ! a $ b ! !
p ! ^ e o
' ! u e u n s l
S u t u o o u a a q l
l o
a s u a s e s J a a l u d u e e J o a q l
] o
d n l x a l . ! a e u ^ p a q f e a s
p u e p u e l u a a h l a q q s t n 8 u ! 1
- s t p a l s n e l q e u o s a t n J x a J
p / / r , l ' u e a r ] e L ! v S r J r l u a r l s
) o ] a p t
l s p u e l
) a l e w a p u n
u e
] o
s u o t l u J s n l l t a s a q l u l
6 ,
u o r l d o l l a d i o l o z l u o 0 . i O
s a l e l s p a l ! u n
' o n d , p u e t g z y e t r q . s
' o p J e a o 1 ) e r u u e f
' s s a J o t d
u o l s l A
a q J u t f l e a u o t ] e u ) o J u l
a q
] o
a s u a s e
l a 8
o l ) a / A e | ^
a q l a t q e u a s u o B p u p a ! )
- l l d w r s p u e
y o l o a
J s 4 J u o c
' t l a t
q ' s u o t p u S u t w n s u o J
- t t o S u t 6 o q s d e u s t q l u l
u o r s u e q e r d u r o 3 s u j r o l s a r l r u n u o d d o r a M a ]
e q
l l r M
e r a q l p u e s s a c o r d a q l
] o
E u u u r B e q e L l l
l e
r e e l 3
a q o t / ( l a l l l a r o u . i s r e B e s s e u r p a p u a l u r a q l ' l t r i l s
t r - - - l
a ^ r l l u 8 o a e u a A l B s l a c u e r p n e e q l u e q M U o r l r s r n b c ?
u o r l e u J o l u r p a a d s o s l e p l n o q s u B r s e p o l q s e o r d d e s r q l
' u o r s u e q e r d u o 3
S u r s u e q u a
^ l a l e u . i
i l n
p u e ' u o r l e l e . r d
, a l u r E u r l e l r l r J E J ' . f u o u e L x S u r l r o M u o
p a c e L d
s p u e L u e p
e q l E u r c n p a j ' , u o r s r ^ r e l e l u o
l s a l l a
o u l u o p e a ^ e q u e f ,
u o r s r , r , { p e - n p n a s - , c r q a C i B e 8 - u z r - E r - C i p e r P d
- u o c a q p l n o q s e l p p q o r q r \ M o u l s j a , ^ a r ^ d l e q
l l r M
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a q l q l l M s l o p r a l u r p u e s a o u a n U U r I l l s r n b
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V
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'
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l l a c )
s r s o l d o o e
l o
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/ t i e a l J a q u e . s e d e q s o l u l
s n J X q o z l u e E l o / | e m l
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l o
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a r e a M e s n e o a q p u v s t q d e . l 8 e o l
p u e q i d a p
l e n s l ^
p p e u m a l n l e e l
l u e u l !
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a ^ l l e u l o l u l
f u p
J o
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l o
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l e n s l ^ l a ^ e l - ^
o l a q l
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t s u l e E e F c q d
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p e 3 u n o u o r d a u o a z l s e q d u i a
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p u e
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I s r n b
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a q l , $ e r p
p u e s n 3 o l 3 p l ^ o l d o l
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e ^ l l u a u e e l d l n o B u l i P p o u l t u o s s v
a l d l o u l r d a q l t u u ( l d d v
FEATURES THAT POP OUT
The scient fic letn
.pap
out apty expresses how we
perceive the most un
que
and conspicuous
prjmitive
features in a graphic during ear
y vision. Before con-
sciousLy
pay
ng attention, we rapidly ana
yze a
graph
c
a10 reg.sle Lle teatLres lhat oop o'1. Tfe oL
pose
s
to
get
an accurate reading of whatever s impodant in
consc ous attention in later vision than an inconsp cu
ous feature
Pr m t ve features that both
pop
oui and are most likely
to contro ater attentlon inc ude coLor, motion, orienta
tion, s ze, depth, tilt, shape, I ne termlnators
(wfrere
a line ends), c osure
(an
enclosed space), topologicaL
properties (such
as a dot inside a c rcle), and ine
curvature.5 Any of these features can be emphasized
to establsh visual prorninence
To perceive a feature as sal ent, we must be ab e to
discr minate t fronr everything else. Through visua
dlscr nination, we determ ne whether a property s
the same as or different from other
propert es "Two
prooerles rr
Lsl dif'e'by a large eno-g"
p'opo'l on
or they w ll not be distingu shed," wrltes professor
and researcher Stephen Koss yn in Clear and to the
Polri Koss yn explalns that differences between two
visual propertles are not always detected because a
ditference s reg stered as a change n our bra n cel
actvity lf the change n neurona activity
jsn't
strong, it
might be confused with no se n the system, wh ch is a
natural occurrence in the bra n To effect vely pro-
mote visua d scrim nation, therefore, the d fferences
between two v sua
properties must be
great enough io
cause suffic ent brain cell actlv ty.
r This is part cularly re evant during
preattentive pro-
cessing, when discrim nation occurs withotlt our con-
scious awareness iJs ng two shapes wjth very d fferent
or
artatio^s
o rr'lg IWo objects oi \e
)
d ffe'e1l siles
w ll result in effective discrimlnat on. In
general, maKe
a
prlrnitive feature promineni; don't leave it up to the
vlewer to make fine or subt e v sua discr mlnations
L ln this
paster com
menarating the Defi'
rcbellion in Ecuador,
gestured hands
PoP
I
dunng preattenttve p
cesslng Decause or c
conUast,
Antonil
Antonio Mena
> In these animatiol
frames far the Craatt
Architects Assoctatt(
letter A appearc to
P
because af its contti
colar, shape, onenta
and naveltY.
Botis I
Studio lnte
54 Visuol Longuoge for Designers
TEXTURE SEGREGATION
One of our first responses to the(nfluiof sensory
_dau
is to organize
pr rritive'earJres inro segnerred
regions of textuIe. In p ctures, texture can be thought
of as the opt cal
grain
of a surface. We unconsciously
un fy objects lnto regions that are bound by an,abrupt)
change_ n texture. We
perceive
this change as defining
wrth co'rscioLS alrenr.on. 0Lr k|^owledge of textLre
patterns
helps us to dentify objects
T'rorgl- texture segregdflon, we also serarate
foregrourd f on ba( kg ouLrd. Wl-er we perce ve a
difference between two textures, the_textured area is
typ cally seen as ihe flgure or dom nant shape and the
_area
w
''rout
texture is iypically seen as the
ground
or neuira form. The relationship between figure and
ground
is a
prerequisite
for
perceiving
shapes and
eventually identifylng objects. Color and size, also
contribute to the figure ground perception
Just as
primitive feaiures can induce the
pop-out
effect, so can regions of texture. For nsiance, when
a surface texture s cornposed of uncomplcated
primi-
live leatJ'es, sucf as I r e or enlalior or sl'apes. its
-
to distinguish the texture from its surroundings.
When a forrn with a complex texture is placed
on a
busy background, the texture is harder to discriminate
rn.l l.cac itc
^^n-^,,t
affa.t 6
xture
perception
also
presents
spatial information
by providing cues for depth perception.T The texture
panern is perceived as less dense and coarser, rhe
object appears closer.
0ur ability to segregate textures dur ng early v s on is
key to understanding the meaning of a
graphic.
An
analysis of texture shows thai it is constructed from
contrast, orientation, and element repet tlon. Designers
can manipulate these individual
properties
to convey
meanirrg. lexture ca-r be expressive, captur'ng tf'e es-
sence of an object or mood Texture can also simulate
surface
qua
ities to help us identify and recognize ob-
jects.
When given appropriate emphasis, texture can
become more
prominent
than shape and Ine.
^
ln these three dinen
sional displays to promote
tourism, the designet used
oryanic textutes to exptess
the natural beauty of
Crcatia. Texturcs. are easily
perceived in the eatly vision
pracess, which makes this
example so conpelling.
Botis Ljubicic, Studio
lnlenational, Craatia
> One can almost feel the
gaoey, nelting textures in
this poster. The powetful
type pops aut even aEalnst
the high-eneryJt colorc and
shapes because of the con-
ttasts in colat and texture.
Ad an Labos,
X3 Studios, Romania
58 Visuol Longuoge for Designers
Texture with Text
An appealing way to create texture s through the
creat ve use of type, regardless of whether the type
can be read When type is repeated, varied, layered,
or man
pu
ated and a tered, it creates an opt ca
grain
tfrat conveys meaning. OftenJlle- meaning is
expressed on two evels: the words formed by the type
communicate a iteral message and the texture con-
.
veys meaning through design Us ng type as texture is
particularly
appropr ate in text-associated themes that
relate to books, poetry,
and language.
To create textures that are easy to discriminate, use a
texture with a simple d stingu shing homogenous fea-
ture separated from a contrastlng region. There should
be an easily perceptlble
ditference where two objects
or lorms meet. Textures that are easy to discriminate
m
ght
nclude those with different line orientations,
contrasting rhythms of
pattern,
and reg ons composed
of h gh contrast patterns
surrounded by regions of low
contrast The phenomenon
oftexture segregation pro-
v des many
possibi
ities for communicating a message
early in the perceptual process
L Thick layerc of averlap-
ping
type ueate poetic
textutes in this watk fot a
col labontion exhibltion by
a
Poet
and typagrapherc.
Shinnoske Sugisaki,
Shinnoske lnc,, Japan
> ln this paster to cam-
memarcte the 29)th year
af the firct reading room in
Croatia, type is an appropri
ate design elenent far a
texturcd backgrcund as it
curues and bends thtough
space The glasses
and
theit shadow energe from
the numbet 2OO.
Botis Ljubicic, Studio
lntenational, Ooatia
62 Visuol Longuoge for Designers
Texture with Text
An appea lng way to create texture is through the
creative use of type, regardless of whether the type
can be redd. Wl
pn'ype
s repeated, va'red.
'ayered.
or man pu
ated and a tered, t creates an optica
gra r lhat con\evs
-nedring
OflF1Jl^e n-ednng is
qxpressed on two leve s: the words formed by the type
communicate a lteral rnessage and the texture con-
veys mean ng through des
gn
Using type as texture s
particularly
appropriate n texfassociated themes that
re ate to books,
poetry,
and language
To create textures that are easy to d scrim nate, use a
texture with a simp e distinguishing homogenous fea-
ture separated from a contrasting region. There should
be an eas ly perceptible
difference where two objects
or forms meet. Texiures that are easy to discriminate
might include those with ditferent line orientations,
contrasting rhythms oJ pattern, and regions composed
of high contrast pafterns surrounded by regions of ow
contrast. The phenomenon
of texture segregatlon
pro-
vides many
posslbilit
es for comrnun cating a rnessage
aar y in the perceptual process
L Thick laye6 of ove ap-
ping type create poetic
texturcs in this wotk for a
col I a borat i on ex h i b i t ion by
a poet and typogtapherc.
Shinnoske Sugisaki,
Shinnoske lnc,, Japan
> In this postet to com-
memorate the 200th yeal
of the first rcading rcam in
Craatia, type is an apprcp -
ate design elenent for a
textured background as it
cutves and bends thtough
space. The glasses and
thei shadow emerge from
the nunber 2OO.
Botis Ljubicic, Studio
lntenational, Croatia
62 Visuol Longuoge for 0esigners