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Pub Layout > Midterm > Flashcards

Midterm Flashcards

1
Q

The eye and brain break up the visual world into various aspects such as…

A

color, form, motion and depth

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2
Q

Eyes take in what

A

the stimuli. The brain makes sense of it.

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3
Q

Vision is

A

1 tenth physical and 9 tenths mental

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4
Q

Perception is what

A

limited and selective. We detect only a slim portion of the information around us. What we decide to see is determined by what we know, believe and want.

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5
Q

Perception definition

A

the process of acquiring, interpreting, selecting and organizing sensory information.

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6
Q

Visual Perception

A

Gathering information through sight, organizing and making sense of it.

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7
Q

2 parts of Perception

A
  1. Making sense of it (tasks and mental shortcuts)

2. Judging what to focus on (selecting objects)

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8
Q

Western countries focus on what

A

objects

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9
Q

Eastern countries focus on

A

the spaces between objects

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10
Q

Japan: the ma

A

the intervening interval

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11
Q

7 visual communication theories

A 
gestalt
semiotics
constructivism
ecological Theory
Cognitive Theory
Huxley/Lester Model
Omniphasism
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12
Q

Gestalt

A

The whole is greater than than the sum of its parts. Perceive parts/objects as whole. Primary, kicks in first. Form-forming capability of our senses. Grouping.

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13
Q

Grouping

A

Creates visual cohesion

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14
Q

Grouping similarity takes into account what 4 aspects?

A

size, value, color, and shape

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15
Q

Grouping proximity

A

Dominate all other grouping concepts. Spacial nearness.

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16
Q

Grouping closure

A

Pleasing to the brain. Fill in missing information to form an unfinished object.

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17
Q

Grouping continuity

A

Brain tends to form lines, follow what it perceives to be a path.

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18
Q

Grouping figure-ground contrast

A

differentiation between the object and the background.

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19
Q

Philosophers associated with Gestalt theory

A

Max Wertheimer- formal gestalt theory
Rudolf Arnheim- applied gestalt theory to interpretation of the visual arts. Also have to worry about the quality of the individual elements as well as the whole.

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20
Q

Semiotics

A

The science of signs. A symbol (something that stands for something else)

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21
Q

C.S. Peirce

A

Semiotic theory expert, “we think only in signs.”

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22
Q

Ferdinand de Suassure

A

Semiotic theory expert, “signs are divided into 2 parts.”

  • signifier
  • signified
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23
Q

Icon

A

resemblance. looks like or resembles what it stands for.

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24
Q

Index

A

cause and effect. Logically connected, can make sense of it.

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25
Q

Symbol

A

convention, have to be taught it, no logical connection.

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26
Q

Constructivism

A

Relating patterns of shape, visually arranging planes together. (Saccadic jumps our eyes make)

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27
Q

Ecological Theory

A

Take into account the environment/real world setting. Lighting, depth, scale, etc. contribute to the visual communication.

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28
Q

Cognitive Theory

A

Based on process in the brain like memory and comparison. Brain will seek out what is familiar based on experiences/memories that you already have. Went beyond the stimulus and made the best guess.

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29
Q

Huxley-Lester Model

A

The more you know, the more you see. Sight and thought are inseparable. “Images have no use if the viewer’s mind doesn’t use them.”

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30
Q

Stages of Huxley-Lester Model

A

-Sensation
-Selection
-Perception
sensing + slecting + percieving =seeing

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31
Q

Omniphasism

A

“All in balance.” Balancing the two primary cognitive systems: the rational and intuitive.

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32
Q

Paleolithic man paints in cave walls (when and where)

A

25,000 BC Lascaux

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33
Q

Cave iconography centers on 3 themes

A
  • Animals (dominant images, scary animals are not shown as often)
  • Humans (people are not drawn as well as animals, stick figures)
  • Signs (often associated with animals)
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34
Q

Cussac cave

A

Found in France, mostly etching, birds are present, sexual icons lots of bison and people.

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35
Q

Catal Huyuk mural 6200 BC

A

Neolithic portrayal of active volcano

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36
Q

Written language

A

Began in Africa created ideograms, then Sumerian clay tablets, then Egyptian hieroglyphics

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37
Q

ideograms

A

pictures representing words

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38
Q

Rosetta Stone

A

Had three different languages:

  • Egyption hieroglyphics
  • Egyption Demotic
  • Greek
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39
Q

David Diringer: 4 historical stages of writing

A
  • Iconography
  • Synthetic or Ideographic writing
  • Analytic or Transition Writing
  • Phonetic
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40
Q

Synthetic or Ideographic writing

A

pictures used to tell a story, poem or epic, used to call something to mind

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41
Q

Iconography

A

picture writing (cave drawings)

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42
Q

Analytic or Transition Writing

A

picture becomes an accepted symbol of its name

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43
Q

Phonetic

A

symbols representing oral sounds

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44
Q

Visual processing cells account for…

A

30% of the brain cortex,

touch has 8% and hearing has 3%

45
Q

We receive __% of information through our eyes

A

80

46
Q

we process more info through our eyes than…

A

all other senses combined

47
Q

eyelid

A

protects and keeps cornea surface smooth by evenly spreading tears

48
Q

pupil

A

black opening in center of iris that regulates how much light gets let in

49
Q

sclera

A

white of the eye, the tough protective layer

50
Q

Iris

A

the colored part, regulates light by dilating and constricting the pupil

51
Q

camera lens=

A

cornea lens, vitreous (focuses the light)

52
Q

film=

A

retina (the surface on which the light rays are focused)

53
Q

dark room=

A

brain (images are processed)

54
Q

macula

A

small highly sensitive center of the retina (detailed central vision)

55
Q

Fovea

A

center of macula (sharpest vision)

56
Q

what area contains cones

A

macula/fovea (reading)

57
Q

what area contains rods

A

retina/peripheral retina (night vision, playing sports)

58
Q

right brain

A

space orientation, artistic

59
Q

left brain

A

analytical, logical, linear

60
Q

primary purpose of typography

A

facilitate, organize content in lucid manner

61
Q

primary colors

A

colors at their best essence

colors that cannot be created by mixing others

62
Q

tints

A

addition of white

63
Q

shade

A

add black

64
Q

secondary colors

A

combination of 2 primaries

65
Q

intermediate (tertiary colors)

A

primary and secondary combination

66
Q

rods

A

120 million rods are more sensitive than cones

good at sensing low level light but not color

67
Q

cones

A

gives us the ability to see color

68
Q

chroma

A

intensity of a color

69
Q

analogus colors

A

next to each other on the color wheel

70
Q

hue

A

interchangeable with the word color

71
Q

tone/value

A

lightness or darkness of a hue

72
Q

additive color

A

mixing of colors of light

when all are combined they create white

73
Q

subtractive color

A

mixing colors pigment

when all are combined they create black

74
Q

monochromatic color harmony

A

combining hues of a single color that have varying levels of value

75
Q

victoriansim

A

simple, feminism, ornamentation often shows up, floral typestyle

76
Q

Art’s effect on graphic design photography

A

1880s photographs appear in print, photography changes fine art

77
Q

Photography takes the place of

A

realist art

78
Q

Impressionism

A

capture the impression by focusing on color and light

79
Q

Art Nouveau

A

curved, organic patterns, integrates type and art, lots of french women

80
Q

expressionism

A

raw, crude, primitive

81
Q

cubism

A

looking at multiple planes of the subject at the same time

82
Q

constructivism

A

intersecting geometric shapes and typography

83
Q

Dadaism

A

deliberate, irrational

84
Q

bauhaus

A

form follows function, simple, combining art and craft

85
Q

futurism

A

speed, movement, machine over nature

86
Q

de stijl

A

shape, geometry, Mondrian (looks like a newspaper front page)

87
Q

swiss style

A

lines disappear, clean, sans serif

88
Q

art deco

A

angles, lines, geometric elements

89
Q

surrealism

A

inspired by unconscious mind

90
Q

abstract expressionism

A

action, color, experimentation, emotion

91
Q

new realism

A

montage and multimedia

92
Q

what effect did photography have on art

A

allowed artists to experiment and break away from realistic art

93
Q

3 types of signs:

A

icon, index, and symbol. These signs are often blurred.

94
Q

photojournalism

A

the blending of a journalists and a photographer, telling a story through the images, seek the truth and stay objective

  • timeliness
  • objectivity
  • narrative
95
Q

Henri Cartier-Bresson

A

The father of photojournalism, the decisive moment

96
Q

photojournalism ethics

A

accurate representations, was it staged, was it just meant to shock, too gory, was it manipulated?

97
Q

Categorical imperative

A

what is acceptable for one person it should be acceptable for everyone

98
Q

utilitarianism

A

the greatest good for the greatest number

99
Q

hedonism

A

act to maximize pleasures now and not worry about the future. (whatever sells the most papers and makes the most money)

100
Q

Golden Mean

A

finding a middle a middle ground, a compromise between two things

101
Q

Golden rule

A

Do what you would like to be done to yourself

102
Q

Three levels of digital manipulation

A

Technical, accidental, essential

103
Q

Technical change

A

making slight adjustment, not related to content (making photo more readable)

104
Q

accidental change

A

a content change that has no effect on the meaning (took out the power lines behind ladies heads)

105
Q

essential change

A

changes the meaning of the photo (fictionalization)

106
Q

only change allowed in photojournalism

A

technical

107
Q

photo-fiction

A

applies to any photo that has been manipulated

108
Q

vail of ignorance

A

stepping someone else’s shoes

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