Poster Design Partial vs. Integral Ductility from a Perceptual Perspective
In 1912, the German psychologist Wertheimer did experimental research on the phenomenon of motion at the University of Frankfurt and published an article "Experimental Study of Movement Perception" to describe this phenomenon. This is the hallmark of the founding of the Gestalt school of psychology. It emphasizes the totality of experience and behavior, and opposes the constructivist element theory and the behaviorist "stimulus-response" formula.
We don't get involved in the opposing side of each academic community, mainly because poster design belongs to the category of pragmatism and is not concerned with constructing independent doctrines. The poster design advocates the "spillover value" of the brand generated by the "optimal combination". We simply look at the difference between the totality of experience and behavior and the response to stimuli. It's just that from the perspective of simplifying business, experience and behavior are based and oriented, while stimuli and reactions are mostly unprovoked, and it seems that you don't pay much attention to the fact that you come from**? And to go to the appeal of **. And the poster design is to make it clear that I come from an inconspicuous place, but I am indeed a directional appeal to go to your heart and live in your heart.
Poster designVisual perception guides perceptionThe effectiveness will be greater than the value of the product, or it will be part of the overall design of the elements of the poster, and the theme of the creation will generally rise from the material to the conscious. It can also be said that the purpose of poster design is to make the viewer have conscious ideas and behaviors. The Gestalt phenomenon says that the result of design is that the whole is not equal to the sum of the parts, that is, consciousness is not equal to the collection of sensory elements, and behavior is not equal to the cycle of reflex arcs. That is to say, after the visual perception process, the poster design elements are no longer the original objective shape, and this recombined teacher can produce a concept with perception. To put it bluntly, the best effect of poster design is to make the design idea and the design subject produce a change of tone.
Referring to this theory, art design allows the viewer to judge the design connotation expressed in the work with their eyes, and the process of thinking guided by visual perception. We call this thought process building visual thinking. Through vision, the "shape" in the work is divided into multiple constituent elements of emotional expression.
Each of our creative processes is a process of constructing the conflict and coordination of visual thinking, and forming a new cognition under the perception of sight. Visual perception is not only a perceptual process, but also produces visual effects and derives perception. For the presented design works, the final presentation is the Tao and the instrument, and the emotional expression is separated after being processed by the subjective consciousness of the human brain, that is, "experience and behavior". From "being" to "nothing", the viewer generates a new "gestalt" from the design subject, that is, it can produce new experiences and behaviors to match the creator's will, and can obey and comply with the creator's will.
In his book Principles of Gestalt Psychology, Kaufka, a representative of Gestalt psychology, adopted and adhered to two important concepts: the mind-object field and the theory of homomorphism. He believes that the charm of a work of art comes from its structure, and that the various parts of a work of art form an organic whole, which makes certain demands on people and makes people infected, and the work of art is used as a structure to infect people. For the psychology of art, what matters most is not the structure of the work of art itself, but the emotions evoked by the structure of the work.
The principles of good organization take the mind-object field and homomorphism as the general outline of the gestalt, from which a number of sub-principles are derived, called the laws of organization. Kaufka argues that no one, including children and uncivilized people, experiences a meaningful perceptual field according to the laws of organization.
We borrowed these good organizational principles into the poster design, and made some changes according to the original translation of the theory, and organized it into a few design tips:
1.Graphics & Backgrounds. The greater the distinction between the figure and the background, the more prominent the figure will be and become the object of our perception.
2.Proximity and continuity. Some parts that are short or close to each other can easily form a whole.
3.Intact and closed tendencies. The parts that belong to each other tend to form the whole, and conversely, the parts that do not belong to each other tend to be separated. This illustrates a tendency of the perceiver's mind to make inferences, i.e., to bring together as much as possible an incoherent notched figure psychologically, which is the tendency to close. The tendency to be complete and closed is at work in all sensory tracts, and it provides complete demarcation, symmetry, and form to the perceptual figure.
4.Similarity. If the parts are at the same distance, but they are of different colors, then the parts of the same color naturally form the whole.
5.The law of transformation. According to the isomorphic theory, since the gestalt is the same as the stimulus, the gestalt can undergo a wide range of changes without losing its own characteristics.
6.Movement in the common direction. If the parts of a whole move in the direction of the whole, the parts that move in the same direction are easy to form a new whole.
The famous design scholars Rudolph and Astheim said in "Art and Visual Perception" that thinking is not the privilege of various mental abilities other than vision, but the constituent component of vision itself. We also elevate from this theory in the later chapters to the study of spatio-temporal thinking art support theory, focusing on the combination of visual research and art form research, and taking whether the study of visual trajectory can "partially deduce and help the overall sense of consciousness" as one of the criteria for evaluating the merits of works.
Perception refers to the mental process by which an individual perceives, discerns and understands external stimuli through his or her sense organs. It is our perception and cognition of the surrounding environment, the stimulus information received through the sensory organs, and the transmission and processing of nerves, and finally the formation of our cognition and understanding of external things, that is, the formation of new perceptions.
In psychology, perception is seen as a basic mental process, closely related to mental processes such as cognition, emotions, etc. It plays an important role in our daily lives, influencing our perceptions of the world and our behavioural decisions.
First, perception helps us to obtain information about the external environment. Through the stimuli such as sight, hearing, smell, taste, and touch received by our sensory organs, we are able to perceive the shape, color, sound, smell, and texture of the things around us. This perceptual information provides us with the basis we need to interact with the outside world.
Second, perception helps us discern the differences between things. By identifying and classifying different stimuli through our senses, we are able to distinguish differences in various objects, sounds, and smells. This ability to discern differences allows us to make accurate judgments and decisions in complex environments.
In addition, perception is also involved in our understanding and interpretation of external stimuli. Through the processing and integration of perceptual information, we are able to recognize external things, understand their meanings and the laws behind them. This process of understanding is an integral part of the process of constructing our perception of the world.
The guidance of the middle line of poster design management forms an angle, and the visual effect of different angles is completely different. It is transmitted to the viewer's brain through the eyes, so as to correctly guide the viewer's viewing psychology. The use of design angles directly affects the psychology of the viewer, and can produce unused environmental changes. Enrich the feeling of the formation of things in the work, and set off the atmosphere of harmony and rhyme. The visual angle is also the feeling of photography, the guide line can let the viewer see the place we want them to see, can make your thoughts clear and clear, through the large visual point to lead people's visual recognition line, and then through some small elements, unconsciously let people's vision walk along a certain path, you can achieve the implicit use of the perceptual line. The most important trick of the designer is to guide the user's gaze, so that he can follow the visual track you designed through the angle, so that he looks like he wants to live the same visual angle. The beauty of the line lies in the quality and rhyme; From a visual point of view, quality and rhyme are both feelings under the line of sight.