Presentation

Feedback Task

We had five minuets to present our presentations to the group with one minuet to write feedback.

We had to group the feedback into categories:

Useful-

• Project your voice when presenting 
• What draws you to it and why?
• Show more examples of application to design

Ego-

• Interesting idea for a presentation
• In-depth knowledge of subject
• Strong link to interests and ambitions 

We have been asked to think of three objectives to improve the brief:

• I would find more examples of design work that interests me and that applies the visual techniques that I researched. 
• I think I could of explained more in-depth what it is that interests me about the subject and how I want to apply it in my own work.
• I could of brought in some physical examples of design work that communicate the theories. This would of helped to show the group of how it can be applied to design.

Focused Research

Focused Research

Figure–ground (perception)

Whilst researching Negative Space I came across Figure-Ground Perception. This is something I am interesting in studying so I understand how to recognise and apply the different techniques in others work and my own.   

I enjoy simple design and like creating minimal designs so I find this subject interesting. It explains the theory of how the brain distinguishes different visual characteristics and how to use them for the desired effect. For example, the grouping of objects with similar characteristics suggests as belonging together.

These principles can be applied to all areas of design but I am interesting in the application to:

- Branding/Identity 




Definition:

Figure ground perception is a visual relationship between foreground and background. This is important to the perception of images, as the edges form the image that we see.

The History 

Hermann von Helmholtz is often credited with the first study of visual perception in modern times. Helmholtz examined the human eye and concluded that it was, optically, rather poor. The poor-quality information gathered via the eye seemed to him to make vision impossible. He therefore concluded that vision could only be the result of some form of unconscious inferences: a matter of making assumptions and conclusions from incomplete data, based on previous experiences.

Gestalt Theory of Visual Perception

Gestalt psychologists working primarily in the 1930s and 1940s raised many of the research questions that are studied by vision scientists today.
The Gestalt theorists were the first group of psychologists to systematcially study perceptual organisation around the 1920’s, in Germany. They were Johann Wolfgang von Goethe, Ernst Mach, and particularly of Christian von Ehrenfels and the research work of Max Wertheimer, Wolfgang Köhler, Kurt Koffka, and Kurt Lewin.

Gestalt means when parts identified individually have different characteristics to the whole (Gestalt means "organised whole")
e.g. describing a tree - it's parts are trunk, branches, leaves, perhaps blossoms or fruit.
But when you look at an entire tree, you are not conscious of the parts, you are aware of the overall object - the tree.
Parts are of secondary importance even though they can be clearly seen.

The most famous example of figure–ground perception, which is fully explained in the six Gestalt Principles detailed below, is probably the faces–vase drawing that Danish psychologist Edgar Rubin. This drawing exemplifies one of the key aspects of figure–ground organization, edge-assignment and its effect on shape perception. Notice in the faces/vase drawing, the perceived shape depends critically on the direction in which the border (edge) between the black and white regions is assigned. If the two curvy edges between the black and white regions are assigned inward then the central white region is seen as a vase shape in front of a black background. No faces are perceived in this case. On the other hand, if the edges are assigned outwards, then the two black profile faces are perceived on a white background and no vase shape is perceived. The human visual system will then settle on either of the interpretations of the Rubin vase and alternate between them. Functional brain imaging shows that when people see the Rubin image as a face, there is activity in the temporal lobe, specifically in the face-selective region

Six Principles of Gestalt Perception

Principle 1 - Proximity

The groups we see are

1 + 2 = as one group
3 + 4 = as another group

Similarly, on the left, three groups of dots in three lines. What happens with the evenly spaced dots?

The principle of proximity or contiguity states that things which are closer together will be seen as belonging together.

Principle 2 - Similarity

Similarity means there is a tendency to see groups which have the same characteristics so in this example, there are three groups of black squares and three groups of white squares arranged in lines.

The principle of similarity states that things which share visual characteristics such as shape, size, color, texture, value or orientation will be seen as belonging together.

Principle 3 - Common Fate

Suppose both principles of proximity and similarity are in place - then a movement takes place - the dots begin to move down the page.

They appear to change grouping.

Principle 4 - Good Continuation

Seeing things as whole lines (sequential) is clearly important. But 'being in wholes means' that few interruptions change the reading of the whole
lines.

A to O and Oto D are two lines. Similarly,
C to O and O to B are two lines.

The principle of continuity predicts the preference for continuous figures. We perceive the figure as two crossed lines instead of 4 lines meeting at the centre.

Principle 5 - Closure

Related to principle of good continuation, there is
a tendency to close simple figures, independent of continuity or similarity. This results in a effect of filling in missing information or organising information which is present to make a whole

In the circle at the top its seen easily. In the other to figures it's a little more complex. The second figure can be read as two overlapping rectangles (the gestalt) whereas it can also be seen as three shapes touching; a square and two other irregular shapes.

The final shape can be seen as a curve joining three squares or as three uneven shapes touching.

Principle 6 - Area and Symmetry

The principle of area states that the smaller of two overlapping figures is perceived as figure while the larger is regarded as ground.

The principle of the symmetrical figure is that it is seen as a closed figure. Symmetrical contours thus define a figure and isolate it from its ground. The principle of symmetry describes the instance where the whole of a figure is perceived rather than the individual parts which make up the figure.

link

The result of attention paid to design elements arranged with Gestalt principles in mind is a design that has a clear message and is visually organized. The resulting groupings of elements and information creates a hierarchy of relative importance in that overall message.

Figure vs. Ground

Figure: The main focus of the composition (positive space)

Figure is a compositional element to which we pay attention. It is also identified as a positive shape in a visual composition. It is defined as the outline, form, or silhouette of an object. It refers to an active, positive form revealed against a passive, negative ground. In the simplest visual compositions there may be only one figure that the viewer needs to pay attention to. In more complex visual compositions, there may be multiple figures. Familiar, figurative, and representational objects are easy to see and assimilate as figure.

Ground: The secondary portion of the composition (negative space)

Ground is the surrounding space of an object or compositional element. It is also defined as the negative space in a composition, as well as everything else that is not a figure. As attention shifts from figure to figure, the ground also shifts so that an object can go from figure to ground and back.

Three Distinct Types

• Simple Figure Ground
• Figure Ground Reversal
• Figure Ground Ambiguity

Simple Figure Ground

A simple figure–ground can be created when a coherent, independent object is juxtaposed in a space that functions as its surrounding ground. The ground can be compressed or shallow, or convey an illusion of depth. In a simple figure–ground composition, the figure is positive and active, whereas its ground is always negative and passive. In this compositional relationship, the figure is clearly visible and separate from its background.

Figure Ground Reversal

Figure ground reversal is the inversion of background and foreground. This is often used in logo designs and can often ground an image. In a simple figure ground the borders are perceived as limitless, whereas the figure ground reversal bounds the image. 

Figure Ground Ambiguity

MC Escher's Sky and Water I, 1938

Figure ground ambiguity is the visual illusion with two alternate viewpoints. This is similar to figure ground reversal, but the alternate image creates a totally different perception. In this version of figure ground, a pair of objects share a similar edge. This illusion is created by the inversion of figure and ground.


Why is it important?

Determining the figure ground relationship is also the very first thing people do when they direct their gaze; new things come into view and our brains need a basis upon which to make sense of things. We have to determine which elements are figures (requiring immediate concern and attention) and which are ground (not so important right now, but do provide context).

This process is of vital importance to humans and likely has its evolutionary basis in threat detection (am I walking on just leaves and weeds or am I about to step on a rattlesnake?). Of course, it also ensures that we are able to prioritize our perception so we don’t go banging into things accidentally or ignore something of immediate proximity and importance. Our perception of the figure ground relationship allows us to organize what we see by how each object relates to others. The short and sweet version is: it allows us to determine what we’re supposed to look at and what we might safely ignore.

We do this instantly and without effort in most cases, as we’re often in familiar surroundings and looking at familiar things. But when we are made to look at something unfamiliar, especially if it is a designed page, figure ground relationship clues determine the success of our experience. This success is the designer’s mandate.



Characteristics

The principle of figure–ground is one of the most basic in visual communications because it refers to our ability to visually separate elements based on contrast—dark and light, black and white, and positive and negative. In the simplest terms, the figure is what we notice and the ground is everything else we tend to not notice. An effective and perceptible figure–ground relationship occurs when the eye can identify a figure as an object distinct and separate from its ground or compositional background. This perception is dependent solely on the design principle of contrast.

A composition's figure–ground relationship is clear and stable when the figure receives more attention and immediacy than the ground. When a figure–ground relationship is unstable, the relationship is ambiguous; therefore, the compositional elements can be interpreted in different ways. Balanced and effective figure–ground relationships animate any composition, adding visual impact and power to its message.

However, when a figure dominates its ground, the effect can be clear but potentially boring. Locating a clearly defined object in the center of a composition leaves no doubt about the subject, but its presentation may lack visual nuance and power.

Ultimately, figure–ground is one of the most important design principles to consider when creating any visual communication. In doing so, graphic designers can further guarantee that the work they are producing will be effective, communicative, memorable, and highly meaningful to the viewer.

Using Figure Ground in Design

The mind tends to seek distinctions between the figure (the subject of the design or image) and the ground (the background). A designer typically wants the figure to demand attention; the ground should support the figure and not distract the viewer. A good design creates a balance in that the ground helps define the figure - whether through creating lines that define the shape of the figure, adding color that creates a mood, or establishing a reference point like place - but the figure is what the viewer notices and processes.

Distinctions between figure and ground can be accomplished in a number of ways:

• Contrast of colour
• Blurred or out of focus background
• Placement of the figure in the image
• Magnifying the figure so that the ground is virtually non-existent
• Minimizing the figure so that the figure appears to be isolated or insignificant

In addition to interesting optical illusions, figure ground ambiguity can be used to emphasize the ground while the most obvious figure is made less prominent. An example might be sightseers against a landscape in a travel brochure.

Care should be taken, though, to avoid images where the figure is camouflaged unless the intention is to require the viewer to search the image for the figure.

link



Examples of FIGURE GROUND in Graphic Design

Branding/Identity

link

link

link

link

link

GO 28 - Logo

Green Housing project - Logo

link

link

link

link

link

link

link

link

link

Artéria

link

Sirio

Contributed by Danny McNeil, designer at London-based SEA Design.link

Research Subject 1 (Interest) - Negative Space

Negative space

Negative space is an ongoing interest of mine. I am interested in the balance and harmony it creates when used effectively within a design. I would like to experiment with negative space within my own work with the intention to find my design signature.

Definition:

Negative space is a compositional tool used in both two- and three-dimensional work. The simplest way to describe it is as: "space where other things are not present."

Negative space, in art, is the space around and between the subject(s) of an image. Negative space may be most evident when the space around a subject, and not the subject itself, forms an interesting or artistically relevant shape, and such space is occasionally used to artistic effect as the "real" subject of an image. The use of negative space is a key element of artistic composition.

In a two-tone, black-and-white image, a subject is normally depicted in black and the space around it is left blank (white), thereby forming a silhouette of the subject. However, reversing the tones so that the space around the subject is printed black and the subject itself is left blank causes the negative space to be apparent as it forms shapes around the subject, called figure-ground reversal.

The use of equal negative space, as a balance to positive space, in a composition is considered by many as good design. This basic and often overlooked principle of design gives the eye a "place to rest," increasing the appeal of a composition through subtle means.

Here’s an example of an optical illusion that uses negative space.

It’s a chalice but with the white space you see the faces of two people facing each other. This is how you spot negative space, with only 1 object but can be interpreted as two or more different things. This is called ambiguous figure-ground perception.

Here is a negative-spaced layout.

See the consistency of the spacing? You can see the objects neatly and can focus on them with ease. The spacing between the objects is consistent, producing a good design.

You can focus on “the box” easily on this image because the object is not occupying the whole page.

You find it difficult to focus on “the box” since you can’t look at the square and the text at the same time because the object is too large and it occupies the page completely.

That is how negative space works, it should help viewers focus on the objects that they should see instead of making their eyes look all over the place. If that happens they might not see what they are looking for in the design.

link

Do’s and don’ts of negative space in design...


1. Don’t clutter your design Great challenge comes across when we have to put abundance of information to express in a single piece. The objective is to freedom out the information as greatly as achievable to let some form of white gap in the design. The purpose of graphics project could be defeated if one will put entire information at one time as a visual.

2. Don’t over use of negative space Use of too much white space can give the project a look of being unfinished. It is important when using a negative spacing in graphics you look at overall design and what is the goal of design should be and use negative space according to that. If adding more white spacing is the requirement of a design than go for it but always be careful in adding more negative spaces.

3. Build up an Eye meant for negative space There are no rules for manipulating the right quantity of whitespaces. Similarly each design varies from one another so the quantity of spacing also differs.

4. Balance and harmony Create a balanced, harmonious layout. One that just “feels” right. Spaces create a balance in your output. Without negative spaces, your texts or the design will seem to create shakiness in the eyes. Imagine reading an advertisement or magazine with no spaces between letters and images. You wouldn’t want to read that anymore! The negative space helps in creating a balance design.

link

Examples of Negative Space 

Brands that use negative space....

The most famous example of the use of negative space in a marketing logo is the FedEx design:

According to the logo designer, Lindon Leader who was commissioned to make the Federal Express new logo, he was experimenting with two typefaces Universe 67 (condensed bold type) and Futura Bold. While squeezing the letter spacing, he saw that a white arrow appeared between the letters ‘E’ and ‘x’. With further work he ended up with a new letterform and an arrow that looked natural and unforced.

WWF logo originally conceived by Sir Peter Scott, recently modified to highlight the negative space. The eyes which are highlighted by those black spaces can be interpreted in any way. The image looks like a panda walking towards the viewer. Image was changed in 1986 by the design firm Landor Associates in 1986.

link

link

link

Negative space used in web design...

Designers sometimes use extreme amounts of white space as a way to bring focus to a certain part of the design.

While negative space does not always equate with minimalism, many do make, and design with that connection in mind. Extreme amounts of white space work when the designer uses the technique to create and draw attention to a specific thing. Having a single subject to look at in the middle of a sea of empty space is an effective way to make a user stop, look and read what is on the screen. This technique can work with images or text.
link

http://www.iamyuna.com

link

http://www.les-graphiquants.fr

Negative space used in editorial design...

link

Typography that manipulates negative space...

link

Artists/Designers...that use negative space.

No painter, dead or alive, has ever made us more aware of our eyes than Bridget Riley.’ Robert Melville, 1971

Bridget Riley

Painter

At Hornsey, Riley began her first Op Art paintings, working only in black and white and using simple geometric shapes – squares, lines and ovals. Although she investigated many areas of perception, her work, with its emphasis on optical effects was never intended to be an end in itself. It was instinctive, not based on theory but guided by what she saw with her own eyes.

Shigeo Fukuda
Graphic Artist 

Long before Noma Bar cut out his first silhouette, Japanese designer Shigeo Fukuda was creating startlingly bare poster designs of logo-like simplicity, often bitingly satirical in their content and always expertly composed. Like Escher before him, Fukuda’s work experiments boldly with perspective, negative space and the visual and geometric interplay between elements on the page, often disorientating the viewer with its constructed depth and irregular visual planes. Unlike Escher however, his creations utilise a minimal, considered line occasionally punctuated with infill.

Fukuda’s trademark style developed from an early interest in Swiss graphic design and its stark contrast to contemporary Japanese work. The limited colour palettes and reductive line work remained at the heart of his work until his death in 2009. Testament to Fukuda’s skill was his induction into the Art Director’s Club Hall of Fame in 1987 – the first Japanese designer to be awarded such an honour – who described him as “Japan’s consummate visual communicator.”

link

Noma Bar
Illustrator

Noma Bar loves to tell visual stories. With a deft touch he can imbue simple graphic forms with political and social commentary, or manipulate everyday icons to create witty, double- take images that make you look once, twice, three times. With his bold use of colours, shapes and pared down iconography, Bar captures the spirit of a person or the heart of an issue with arresting clarity and humour and his instantly recognizable style has established him as one of the world’s most in-demand illustrators. 

link

Tang Yau Hoong
Visual artist/ graphic designer

link