Visual Composition (Part Two: Using Psychology).
Studioblr Collective | 20 November 2016.
You’re at Part Two! Here’s Part One!
Last week we looked at mathematic guidelines for creating dynamic composition in art and design. Now, we’re turning our attention to some the the psychological methods you can use in your own artworks!
The Theory:
Many psychological studies have revealed that humans are naturally sociable creatures. As babies, our focus is drawn to human faces, particularly eyes, and hands as these are the main methods of communication with one another.
Why It Works:
Similarly, in art and design, our eyes will be drawn towards aesthetic and recognisable human faces, eyes and hands. Portrait photography focuses heavily on this, and is also present in emotional advertising.
Another series of studies have shown that humans tend to look at what others are looking at. In fact, try going outside into a crowd of people and stare into the sky. Other people will start to join you to find out what you’re looking at! This can be helpful to remember when arranging designs with photography or illustration.
2. Visual Indicators of Direction
The Theory:
This technique is where one element in a design directs attention towards another. This could be in the form of physically drawn lines to connect two objects, via human gaze, framing of a subject, or other methods.
Why It Works:
This method is particularly common in digital and traditional collage, where it is more applicable to clearly show where a viewer should be looking. It also occurs in videography, where angular lines of the environment, created by perspective, seem to lead towards the subject and frame it. Wherever you look, your eye is led back to the main subject of the shot.
The Theory:
This means that elements with similar visual characteristics will be associated with each other, and elements that have a different visual identity to the majority will stand out from the rest.
Why It Works:
Think about an example in text: you can highlight certain words by using a different colour, making it bold or italicised, or even changing the point size.
The same applies to overall composition. To emphasise a particular element of the design, try changing the visual identity in some way.The human brain is designed to categorise things for ease of recall. It does this via similarities of colour, shape, size, continuity and other visual characteristics.
More information: https://www.sitepoint.com/emphasis-in-design/
The Theory:
Figure-Ground Theory relates to positive and negative space. “Figure” refers to the elements placed onto a page, canvas or background (positive space), and “Ground” refers to the space of the page itself (negative space).
Its main statement is that “The space that results from placing figures should be as carefully considered as the figures themselves.”
Why It Works:
People are generally accustomed to seeing the background as unimportant or passive in design when compared to the dominant subject, but visual artists can play with the spaces between elements to create ambiguous relationships and the illusion of form within negative space.
This is a form of optical art, and is popular among all disciplines of art and design including logos, sculptures and illustrations.
More information: http://www.creativebloq.com/art/art-negative-space-8133765
5. Organisation of Framing
The Theory:
Used in photography, videography and painting, this technique describes the “dynamics of power” originating from position of the viewer/camera in relation to the subject.
High angles, with the viewer/camera looking down on the subject, convey atmospheres of dominance or aggression over the figure.
Low angles, with the viewer/camera looking up at the subject, convey atmospheres of submission and being victimised.
Why It Works:
In 2 dimensional space, such as a television screen, imagery can work with the audience to create 3 dimensional imagery. The positioning of the camera (and by extension the viewer) should always be considered in order to compliment the piece.
Understanding the way that images of people are framed can help you to create more dynamic and expressive portraits.
That’s all the advice we’ve got for you, folks. Hope this helps, and happy designing! If you missed it, remember to check out Part One!
Written and Designed by @rikstudies
Edited by @allydsgn
