OUGD404: György Kepes' Language of Vision

György Kepes’ was a Hungarian painter, designer, art theorist and educator who taught at the
Bauhaus. He was fascinated in the Gestalt psychology of how we perceive information, and therefore created a language of vision to enable his students to be able to compare visual layout characteristics. This language involved a set of three exercises and visual hierarchies, each featuring differentiating qualities/rules to be followed.

Each exercise is represented using a range of shapes and scale, as well as space. These are shown in the key below:

Exercise One: The Rules

1. All elements must be encased within the rectangle/frame.
2. Visual elements cannot touch.
3. No tilting or distortion of the elements is allowed.
4. The size/weight of the elements can be altered.

Exercise One produces a visual hierarchy that is easy to interpret due to the space the surrounds each individual piece of information. The exercise bears simple, un-complex compositions that allow for shapes to be perceived distinctly. The resolutions born from this exercise are generally conventionally structured.

Exercise Two: The Rules

1. All elements must be encased within the rectangle/frame.
2. Visual elements can touch.
3. No tilting or distortion of the elements is allowed.
4. The size/weight of the elements can be altered.

Exercise Two, unlike one, allows for the grouping of visual elements, which produces more opportunity to organise. Through the grouping of information, a more complex relationship between perception of space and recognition is created. the eyes are required to use space surrounding the elements to understand the composition effectively.

Exercise Three: The Rules

1. All elements must be encased within or connected to the rectangle/frame.
2. Visual elements can touch.
3. Tilting or distortion of the elements is allowed.
4. The size/weight of the elements can be altered.

Exercise Three is much less restrictive, and therefore allows for more complex compositions to be generated. They promote a lack of structured order, potentially making for more energetic results - though perhaps more confusing. as elements are able to leave the frame, the eyes are required to work harder to perceive information.

Kepes’ uses the language of vision to demonstrate and analyse the effect of visual language on the structure of human consciousness, in particular how elements of line and form are perceived and how innovative types of perspective can lead to more dynamic representations in art and design.

‘Matching the data of experience with our abstractions, visual or verbal, we call “explanations” 

or “philosophies”; when visual, we call them our “picture of the world”.’- György Kepes.

OUGD404 - Study Task 02 - How Do You Read: Colour Relativity

Using the knowledge gained in colour relativity from today's session, Study Task 03 requires the use of pantone reference guides to identify a colour that will work harmoniously in conjunction with an colour considered by ourselves to be bad; the aim is to try and alter the perception of a colour not liked by ourselves through the addition of another colour and the visual perceived as a result of the combination. 

The two colours are to work along-side black, and must be a scheme suitable for the purpose of being effectively featured in a simple children's book.

Using the Pantone 4 - Colour Process Guide, I firstly found the black to be used within the scheme - Pantone DE325-1 U

Having found the black, I then set of to find a hue of my least favourite colour - this being green. Although I appreciate this colour in the outdoors and where appropriate, Green is not a colour I favour when used in interior settings or design generally. I like to think of green as an exclusively outdoor, natural colour. 

The hue of green I was drawn to was Pantone DE302-3 U, shown above third down on the right of the guide. I chose this bright, vibrant tone - considering its use within the children's book - as a result of its vivid, artificial visual presence. I then began to consider the third colour to be featured in the scheme, taking into account the theory learnt within the day's session.

To explore potential colour combinations, I visited the Adobe Kuler website and searched for my selected green tone's code. The search supplied me with a "Bright Graphic" colour scheme, in which I identified a colour I believed would work effectively within the scheme: Pink.

The colour combination of pink and green as a scheme works effectively as a result of how these two colours interact visually. Pink is a low saturation of red, a tone with a greater light value. The combination of green and red, these being contrasting colours, creates an intense tonal energy that can be difficult to perceive visually as a result of the enhanced brightness of the hues. By using a tint of red, being pink, the harsh tonal energy is reduced - therefore producing a more harmonious aesthetic. 

With pink identified as my third and final tone to be featured in the colour scheme, I explored bright tones of the colour in the Pantone guide, selecting Pantone DE141-4 U as the tone of choice. The three-colour scheme is exhibited below:

Now, with a effectively selected and considered colour palette, I have decided to produce a mock-up cover for a children's book using the colours selected with this point of delivery in mind. My concept for the cover/hypothetical story was to take the traditional "monster in the closet" ideology and transform in into a much friendlier notion in which a moral message to refrain from judgement can be communicated - teaching the young audience a valuable life skill whilst appealing to the parents. I decided to feature the renowned childhood myth of "The Boogeyman" to establish an iconic presence that could to be related to by all. My strategy in adapting the frightening connotations of this was for the visual to depict two hands holding, one in the pink and one in the green, with black typography communicating the title - which I have made "My Friend The Boogeyman." Both the title and associating visual help to reinforce and enhance one another in establishing the child-friendly story and tone of voice the book would have. 

To illustrate the cover, I began by drawing a hand reaching out on paper, before scanning the image and importing it to illustrator. 

I then traced this image in illustrator using the brush tool, tidying and smoothing any necessary lines thereafter. Once complete, I added the black colour to create a filled vector image. Next, I duplicated the image making it green, and the other pink.

Following this I brought both the pink and green hands into a square layout, as this was my desired book scale / format. I then rotated the green hand before interconnecting the two hands at the fingers.

To complete the mock-up, all that was left to do was supply the composition with the title. Having quickly explored children's book covers online, I decided to use a bold, rounded and soft typography, suitable in its communication to a young audience. The final mock up is exhibited below:

OUGD404 - Michel Eugène Chevreul's Laws of Simultaneous Contrast

Michel Eugène Chevrel's Laws of Simultaneous Contrast, created in 1839, were a study of the apparent changes that occur when colours are placed next to one another. Any colour will influence it's neighbour in the direction of its complimentary, whilst contrasting colours make each other more vibrant and intense.

The study reveals information of the numerous types of contrast that occur between colour, including
contrast of tone, hue, saturation, temperature, and complimentary colours.

The Laws of Simultaneous Colour Contrast suggest that the contrast of colours will “affect the optical composition of each juxtaposed colour.” Having tested a series of colours on different types of background, Chevreul argues that the same colour might display different visual perceptions when placed upon different colors of background. The laws also identify that all primary colours appear pure when juxtaposed with grey; while black and white perceptually affect a colour’s brightness and toning. Chevreul also argues that a colour will be treated as figure rather than as ground when the brightness between the colour and its background are contrasting. 

Similarly to Chevreul's laws, György Kepes’ stated in his Language of Vision that 'Colour and value depend always upon the immediate surrounding surfaces.' This meaning that color can be either amplified or neutralized by its juxtaposed colour.

OUGD404 - Study Task 01 - How do you read? - Colour Theory

Study Task 01 required the consideration of how colour is used typically within popular culture, focusing specifically on fiction books for the task. In a group of three we were expected to explore and select colours from the PANTONE colour guides that were concerned with the following:

• A typical representation of book-cover colour specific to 4 select genres.
• A less conformist yet engaging book-cover colour specific to 4 select genres.

To follow are the 4 selected genres we explored alongside our rationale supporting our choices and providing insight into our thought process.

Romance

Typical/Obvious choice:

We chose PANTONE 185 U as the obvious representation of the romance genre due to the established connotation of the hue being love and passion. The bright tone of red illustrates this whilst also bearing psychological connection to further associated imagery such as hearts, roses etc.

Alternative colour:

Our selection for an alternative representation of the genre of romance was PANTONE 1505 U. We felt this vibrant, bright orange was an effective representation of the energy, excitement and intensity of a new relationship - where romance tends to be most experienced.

Science Fiction

Typical/Obvious choice:

As a group we believed PANTONE 802 U was an obvious colour for children to think of in regard to science fiction because of the stereotypical association of the colour with aliens. The green is neon and artificial in aesthetic, and looks akin to the colour of the aliens characters that feature in 'Toy Story'.

Alternative colour:

PANTONE 8221 C is a colour that we felt provided a visual stimulation relating to space due it its industrial, futuristic space tone in between blue and grey.

Mystery

Typical/Obvious choice:

The groups selection concerned with the typical 'mystery' colour was PANTONE 2757 U. We felt the shade was suggestive of mystery as it is reminiscent of the dark night sky, under which vision is not maximum and therefore invites mysterious activity and hidden sights.

Alternative colour:

When we think of mystery, there isn't a far psychological jump 

to crime and murder. This deep shade of red establishes visual connection to danger, warnings, blood even. This effectively represents mystery due to the preconceptions of the genre and typical occurrences within works that appear within its sector.

Humour

Typical/Obvious choice:

This bright yellow is the groups typical choice regarding the representation of the humour genre. It bears connotation of happiness, positivity, vitality and energy. Also, the colour is ultimately recognised in association with the smiley face visual.

Alternative colour:

Though it may not be the obvious choice when considering humour, we felt this PANTONE 381 U green was an appropriate reflection of the genre of humour as laughter is an instinctual occurrence - it happens naturally. As green is the most typical signifier of all things natural, it relevantly captures the act of laughing as a lapse in psychological control.

OUGD404 - Colour 01 - Systematic Colour

The way we see and interpret colour is predetermined by how our eyes receive it. There a three realities of colour, these being:

• The physical colour as created by light.
• The physiological interpretation as seen by the eye.
• The psychological interpretation affected by the mind and pragmatics.

The eyes contain two types of receptors: Rods and Cones.

Rods convey shades of black, white and grey.

Cones, of which there are three types, allow the brain to perceive colour. 

• Cone type 1 is sensitive to red-orange light.
• Cone type 2 is sensitive to green light.
• Cone type 3 is sensitive to blue-violet light.

When a single cone is stimulated, the brain perceives the corresponding colour. When our red-orange cone is stimulated we see red, when our green cone is stimulated we see green. When two or more of our cones a stimulated we see an alternative colour. For example when both out red-orange and green cones are stimulates, we perceive the colour yellow.

It is as a result of this physiological response that we are able to identify the full spectrum of colours, visible through adjustments in the proportions/values of just three colours -  red, green and blue.

The full colour spectrum can also be divided into three sectors, these being primary, secondary and tertiary colours. 

The Primary colours are red, blue and yellow.

The secondary colours are green, orange and purple.

The tertiary colours are yellow-green, yellow-orange, red-orange, red-violet, blue-violet, and 

blue-green.

Analogous colours are those which lie next to each other on the colour wheel.

Contrasting colours, also known as complimentary, are colours opposite each other on the colour wheel. For example, red and green are contrasting colours.

Colour Modes

RGB = Red, Green and Blue. This colour mode is made of additive colour, and should be used when creating work on screen.

CMYK = Cyan, Magenta, Yellow and Key (black). This colour mode is subtractive and should be used when producing work for and in print.


Dimensions of Colour

A Hue refers to one colour, Colour refers to one or several hues though these are often interchangeable terms.

Chroma refers to all colour including shades, tints and tones. The chromatic value of a colour is the hue + tone + saturation.

Saturation is the percentage of pure hue in any colour. For example, pink is a low-saturation of red.

Shades = Hues + Black.

Tints = Hues + White.

Tones = Hues + Grey.

OUGD404 - The Gestalt Theories of Visual Perception

The Gestalt Theories of Visual Perception were a set of exercises of perceptual organisation. To perceive something means for us to believe we understand it, regardless of whether or not we truly do. These theories, invented during a significantly important time for medicine and psychology, saw the founding psychologists providing scientific answers to philosophical  questions. They used experimental techniques, developed by psychologists, and made psychological theories of consciousness - this being the primary focus of their science.

‘Gestalt,’ meaning ‘shape/form,’ and its theories were pioneered by three main protagonists, Kurt Koffka, Max Wertheimer and Wolfgang Kohler - who were often referred to as ‘doctors of the mind.’ The theories detail the brain’s ability to perceive whole visuals from incomplete images.

The Gestalt laws of perception show that the mind percieves using four basic points of reference, these being:

Similarity

Objects or visual elements that are similar are perceptually grouped by the mind.

Simplicity

Images that are more complex are organised by the brain into more easily understood shapes.

ProximityObjects or visual elements that are placed close together are perceptually seen as a whole.

Closure

The brain will fill in missing gaps within an image despite visible space.

A logo that puts all of these principles in to practice is the WWF Panda, designed  by Sir Peter Scott in 1981.

The logo uses proximity as the black shapes are placed close together, allowing them to be identified as a whole image despite the evident space.

Closure allows the viewer to identify the logo as a panda despite the white space/missing visual information by perceptually filling in the gaps to understand and perceive it.

The monochromatic characteristic of the logo is aided by similarity and simplicity as the black shapes are perceptually grouped by the mind. These black shapes are interpreted as a panda due to the brain simplifying them into something it understands and knows, though in reality the image is simply a range of black forms.