In an interface, color could be used to present a sense of structure and point to available interactions.
A single color within a monochromatic interface can distinguish a selection, and even suggest what is beyond a button the user is hovering over. In branding, a great deal of psychological research has been done on color because it creates a visceral response in consumers prior to them having any meaningful interaction with a brand. However, colors may have a different significance depending on the culture.
A good example of meaningful, structural use of color in web design is The Names for Change site. However, the chosen tones help to overcome one of the potential difficulties for the meaning of the site. Without any further information, this simple graphic immediately communicates the relationship between its elements: a parent and children, which collectively communicates a family.
In traditional graphic design, a typical strategy is to make the most important elements the largest, and then step downsizing the elements hierarchically. Size establishes visual hierarchy because the largest elements grab attention first, and therefore appear to be the most important. Different font sizes are also often used in bodies of text to indicate significant differences, such as headers, sections, and quotes. Secondary content, such as image captions, are usually smaller so as not to compete with the main body of text. Consider some of the most widely used visual interfaces, such as Instagram.
Nothing on the screen competes with the images and videos-they take up more than 60 percent of most screens. The purpose of the UI is immediate. Their unusual site may not be the most intuitive, but it challenges the visual arrangement of the typical online creative portfolio.
Sight and mind: An introduction to visual perception.
Due to the intentional randomization of their varied projects, a different one appears as dominant each time a visitor comes to the site, which makes each visit unique and interesting. Work is not organized hierarchically in the portfolios of most creative design studios because each project is unique and considered equally important. Consequently, the eclectic, interdisciplinary nature of the design studio is represented by the randomized display of content.
Alignment in visual hierarchy communicates a sense of order by connecting elements spatially.
As with chapters in a non-linear novel, imagine a square standing out of line in a graphic composition. When a single element breaks an established structure, it stands out from the composition and thereby attains meaning relative to the rest. A rigid composition may appear stagnant and visually uninteresting unless an element stands out from the visual grid, i.
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This concept is fundamental to visual hierarchy in design. According to a principle in traditional visual design, elements that are placed in the center of a frame appear to be more significant. For example, primary content or interface elements may be put in the center, while navigation, menus, and other secondary content are often kept out to the sides.
But pioneering designers like to challenge the status quo. When interactive design applies fundamental visual hierarchy principles and then pushes the boundaries into innovative visual compositions, interesting new experiences are created. By using a different alignment, new associations and meanings are made between elements. However, by allowing visitors to realign the DNA elements of the site, the concept of the album is communicated, not just as a series of tracks, but as a non-linear construction of fragmented elements over time. To establish importance or groups, consider one heart among four circles.
Geometric forms are like colors in that shapes carry certain connotations that give elements personality or meaning. In interactive design, geometric shapes are essential for efficient communication as they convey meaning more quickly and universally than text. As far as I know, most psychology programmes start with an introduction to the whole field of experimental research about functions such as memory, language, thinking, problem-solving, emotion, motivation, etc.
Separate courses on some of these areas must, there- fore, start at a slightly different level of specialisation and must proceed with more technical treatments about the ways one can investigate all these interesting subproblems, relating it to the most recent developments in the field. As suggested above, this is deliberately avoided in this book.
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In conclusion, Wade and Swanston have written the kind of book one would advise to interested non-specialists if they inquire you about percep- tual psychology. It is also the kind of book one would hope that students have read when they enter your course on visual perception, because it is excep- tionally clear in defining the problems.
It is a much better introduction to the field than what they will probably have had in their first general course, where only some phenomena and outdated theories have been described. However, it is not the kind of book one can use in the course itself because it does not show how to study all these interesting problems. Johan Wagemans Dept. Green, Visual perception: Physiology, psychology, and ecology 2nd ed.
Hillsdale, NJ: Erlbaum. Watt, R. Understanding vision. New York: Academic Press. Related Papers. Early Vision and Beyond. By Andrei Gorea. Early vision and beyond.
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By Andrei Gorea and Charlie Chubb. Select version. About this book Contents Customer reviews Related titles. Images Additional images. About this book Why do things look blurry underwater? Contents 0: A trailer to the book 1: The first steps in seeing 2: Signalling changes 3: To the cortex 4: Size matters and so does angle 5: Colour vision 6: Motion perception 7: The third dimension 8: Development of vision 9: Attention and neglect The perception of faces Perception vs.
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