PERCEPTION

PRESENTER : HEART XYRIEL CANDIE TIMBANG

 OBJECTIVES:
At the end of the lesson the student should be able to ;

1. Identify the difference between figure/ground, t the three

main categories, condition, and letterform shape; and
2. Appreciate the importance of perception in graphics art.
3. Apply the perception in creating a design in graphics art.
 SEEING AND
• BELIEVING
Graphic designer work with fundamental
principles of visual perception.
• The brain is sifting and cataloging the images.
• The visual illusion created through this process
is a real part of perception.
SEARCH FOR SIMPLICITY
• Shapes are interpreted by an active eye
that seeks the simplest satisfactory
explaination for what it sees.
INTERPRETATION

• Visual perception, and thus communication, is always

colored by interpretation. Context, personal experience, and
culturally inculcated systems of signs and symbols play a
strong role in perception.
INTERPRETATION
 FIGURE AND GROUND
• The most fundamental
organizational principle of sight for
an artist working on a flat, two-
dimensional surface is figure/
ground.
• An ability to see and structure both
figure and ground is crucial to the
d e s i g n e r.
 FIGURE AND GROUND
It shows a contemporary
illustration with a dynamic
figure/ ground relationship
that encourages varied
readings.
 FIGURE AND GROUND
It makes playful
and effective use of
reversible
figure/ground
grouping.
 CATEGORIES

The three main categories in figure/groun

shaping are stable, reversible, and
ambiguous
 STABLE FIGURE/GROUND

Each two-dimensional mark or

shape is perceived in an
unchanging, stable relationship
of object against background.
REVERSIBLE FIGURE/ GROUND

• Figure and ground can

be focused on equally.
• What was initially
ground becomes a
figure.
AMBIGUOUS FIGURE/ GROUND

Japanese symbolic picture.

Nineteenth century. An
example of ambiguous
figure/ground
 CONDITIONS
Once mastered, figure/ground grouping is an
invaluable tool. It is complex and deserves study.
Here are some conditions under which one area
appears as figure and another as ground.
 ■ The enclosed or
surrounded area tends
to be seen as figure; the
surrounding,
unbounded area as
ground
■ Visual texture makes
for figure perception.
The eye will be drawn
to a textured area
before it is drawn to a
nontextured area
■ Convex shapes are
more easily seen as
figure than concave
 ■Simplicity (especially
symmetry) predisposes
an area to be seen as
figure.
 ■Familiarity causes a
shape to pull out from
its surroundings. As we
focus on it, it becomes
figure while the
surroundings become
ground
 ■ The lower half of a
horizontally divided area
reads as the solid figure to
which gravity anchors us
 LETTERFORMS
you will realize that
figure/ground affects
letterforms the same as
any mark on the page.
 SHAPE
• Design is the arrangement of shapes. They
underlie every drawing, painting, and
graphic design.
• Shape occurs in both figure and ground, in
both type and image.
SHAPE VS. VOLUME

• Shape describes a two dimensional artwork;

volume describes a three-dimensional work, such
as a ceramic pot, a sculpture, or a piece of
furniture
 GROUPING SHAPES
Research has demonstrated that grouping
letters into words makes it possible to recall the
letters more accurately than when they are
presented alone.
 SHAPE VS. SUBJECT
Through basic shape you can bring unity to a
group of seemingly disparate
objects.Repeating similar shapes in different
objects is an excellent way to bring visual
unity to a design.
 THE FORM OF SHAPES
An artist may choose to
represent an object or a person
realistically, by an image
similar to an unaltered
photograph.
 ABSTRACTION

Abstraction is another approach

to illustration and design. It
implies a simplification of
existing shapes.
 DIGITAL FOCUS

There are two kinds of image files in computer

graphics: vector graphics and raster graphics. Vector
graphics are like a cross-stitch embroidery pattern in
which the yarn stays as separate interwoven strands.
Raster graphics, on the other hand, are like a woven
fabric in which the color pattern is dyed into the cloth.
 LETTERFORM SHAPE
The ability to see shapes is especially
important with letterforms. True, they
are symbols of something, but first and
foremost they are pure shape, a
fundamental design element
PARTS OF LETTERFORMS
TYPE SIZE
• TYPEFACE is a style of lettering. Most typefaces vary a great
deal, as you can see when you develop an eye for the
differences. Each family of typefaces may contain variations
such as italic and bold in addition to regular, or Roman.
• FONT is a specific size and variation on a typeface
• STRESS is the distribution of weight through the thinnest part
of a letterform.
THANK YOU
FOR
LISTENING!
REFERENCE :

Amy E. Arntson(Graphic Design

Basics, Fifth Edition)