Ecu S Medley

Perceptual communication: Why less is more Stuart Medley. © ECU 2009

Photo: Robert Moses by Arnold Newman

Perceptual communication: Why less is more • Perceptual constancies • Gestalt laws of grouping • Synaesthesia

Perceptual constancies Size constancy

David Heeger

Perceptual constancies Size constancy

David Heeger

Olli Stelander

Perceptual constancies Shape constancy

Latto & Harper (2007)

Perceptual constancies Shape constancy

Kovács Ilona

Perceptual constancies Shape constancy

Perceptual constancies Shape constancy

Design: Geoff Symons

Perceptual constancies Colour constancy

Perceptual constancies Colour constancy

Gestalt laws of grouping Importance of objects over components

Gestalt laws of grouping Law of proximity

Gestalt laws of grouping Law of closure

Gestalt laws of grouping Law of closure

Gestalt laws of grouping Law of similarity

Gestalt laws of grouping Law of common fate

Gestalt laws of grouping Law of common fate

Gestalt laws of grouping Law of common fate

Hergé

Guy Billout

Synaesthesia

Allergy by Heike Udes

Clock by Mercedes Curutchet

1. Smooth, flat, horizontal shapes give us a sense of stability and calm.

Molly Bang

2. Vertical shapes are more exciting and more active. Vertical shapes rebel against the earth's gravity. They imply energy and a reaching toward heights.

Molly Bang

3. Diagonal shapes are dynamic because they imply motion or tension.

Molly Bang

References Gregory, R.L. (1977). Eye and brain: The psychology of seeing. New York: McGraw-Hill. Bang, M. (1991). Picture this: How pictures work. New York: Little Brown and Company. Zwimpfer, M. (2001). 2D Visual Perception. Zurich: ̈ Verlag Niggli. FOR TYPE THEORY: Bringhurst, R. (2004). The Elements of Typographic Style. Vancouver: Hartley & Marks. Spiekermann, E. & Ginger, E.M. (1993). Stop stealing sheep & find out how type works. Mountain View California: Adobe Press. Baines, P & Haslam, A (2005). Type & Typography. London: Laurence King.