Orson Welles

Prepared by Danielle Oser, APR

Variations of shapes that combine to make a human face

Parallelogram is a four-sided figure with opposite sides that are parallel and equal in length Dull and conventional shape, sturdy and straightforward

Volkswagen Beetle 2003

The human eye is used in advertising because of the form known as the circle

eye contact: direct

Direct Eye Contact Playfulness Vulnerability Innocence? Happiness?

Direct Eye Contact Defiance Anger Bewilderment? Concentration?

Looking off to the side Embarrassment Disgust Longing Worry Wish for Privacy Disregard for being

photographed

A “Thousand Mile Stare” LA Times

Hidden Eyes Block out the world Hide grief Look fashionable Obey cultural or

religious restrictions Hide what the eyes are

watching

Circles as an attention grabber

Symmetrical balance Serenity Solemn dignity Stable base

Draws power from the point, not the base

Invites the eyes to follow Give the viewer

something to see at the end

1838 Concluded our two eyes

give different views and create the illusion of depth

Discovers the Stereoscopic process

Relies on the fact that humans have two eyes

The brain mergers two images into one 3-D image

Popular 1860-1890

Random dot stereotype images that give most viewers a 3-D effect from color patterns

Depends on the frame in which an image is located How close are you?

If the viewer is aware of an objects actual size it can help in the illusion of depth perception

Related to our ability to determine an objects distance

Warm-colored objects appear closer than those that are cool colored

High-contrast pictures with great differences between light and dark tones seem closer than those with neutral tones

Differences in light intensities communicate depth

Ripple effects Sand – foreground

shadows are larger than in the craters farther away

Image covers another portion of the publication to give the illusion of depth

Here the 3-D effect shows a player seemingly leaping off the page

A viewer’s attention to a particular element within an image

Whichever element is your “focus” becomes the foreground

The most complex depth perceptual cue

Equal parts brain function and learned behavior

Achieved through Size Color Lighting Interposition Linear perspective

Trompe l’oeil trick of the eye

• Illusionary: Linear Perspective Julian Beever, http://www.julianbeever.net/

3-D Public Artwork http://www.blublu.org/sito/walls/2012/002.html

Common among traditional Japanese and Mayan art

Main subject is higher and larger in the frame

Compositional trait that relies on a symbolic definition of depth perception

Multiview allows the viewers to examine the subjects moods and angles all at the same time

The most important person in a group photo is larger in size, centrally located or separated from the “less important” people Family portraits with

grandparents in the middle of the photo

Actual movement as seen by a viewer of some other person, animal or object

Motion Picture Films A series of still images

put together sequentially Series: two or more

images meant to simulate movement

Movement is perceived in the brain because of persistence of vision

24 frames per second

1824 Suggests the theory of

persistence of vision The time required for an

image to fade from the cells of the retina

Result of the time needed to receive and recognize the picture

The motion of the eyes as they scan a field of view

Eye will follow a line, slow curve, horizontal shape

Positioning of graphic elements to take advantage of eye movement and direct the eyes of the viewers

Movement that a viewer perceives in a still, single image without any actual movement of an object, image or eye

Cave drawings = the first “motion pictures” (Count his legs)

Giacomo Balla, “Dynamism of a Dog on a Leash”, 1912

Patterns seem to move as if powered by an unseen light source

Differences between visual cues are only part of the reason some messages are noticed and others are ignored