best advice at the university, they gave me even before entering: on a course in drawing and composition, they offered me to read the book “Art and Visual Perception” by Rudolf Arnheim. I was the only one out of about a hundred people who found the book and started reading. But then it didn’t work out with the display of pictures on the e-reader, so the reading was postponed from July to April.
Arnheim talks a lot of smart things about composition, human perception of objects, children's drawing and a lot of other things and does a couple of analysis of works of art. Designers must read for pumping.
From each chapter I wrote out the important and interesting.
Equilibrium
WEIGHT OF ELEMENTS
The weight depends on the location of the figurative element. An element located in the center of the composition or close to it, or located on a vertical axis passing through the center of the composition, compositionally weighs less than an element located outside the main lines indicated on the structural plan (Fig. 3).
The object of the upper part of the composition is heavier than that placed below, and the object located with right side, has more weight than the item located on the left.
When analyzing pictorial composition the principle of leverage, borrowed from physics, may also be useful. According to this principle, the weight of the depicted element increases in proportion to its distance from the center of balance.
The weight also depends on the size of the object. Other things being equal, a larger object will look heavier. As for color, red is heavier than blue, and bright colors are heavier than dark ones. In order to mutually balance each other, the area of black space must be greater than the area of white space. This is partly the result of an irradiation effect that makes a bright surface appear relatively larger.
As one factor in compositional weight, Ettel D. Puffer found "intrinsic interest". The viewer's attention can be drawn to the space of a picture either by its content, or by the complexity of its form, or by other features.
The sense of weight is aided by the isolation of an object from its surroundings. The moon and sun in a cloudless sky will appear much heavier than similar objects surrounded by other objects.
The correct form looks heavier than the wrong one.
RIGHT AND LEFT SIDES
About the positive vector
G. Wölfflin noticed that the direction of the diagonal going from the lower left corner to the upper right corner is perceived as ascending and gaining height, while the direction of the other diagonal appears to be descending.
According to Mercedes Gaffron, the viewer perceives the drawing as if he focused his attention on the left side of the drawing. Subjectively, he identifies with the left side, and everything that appears in this part of the picture is of greater importance.
Obviously, when the viewer gets used to looking to the left side, then a second, asymmetric center appears in this side of the picture. Just like the center of the frame, this subjective center will have its own meaning and, as you might expect, will influence the composition accordingly. As a result, a contrapuntal relationship is created between the two competing centers.
BALANCE AND THE HUMAN MIND
Just as the expressiveness of life is based on directed activity, and not empty, meaningless calmness, so the expressiveness of a work of art is generated not by balance, harmony, unity, but by the nature of the organization of directed forces that are in balance, unite, acquire sequence and order.
outline
The actual appearance of an object is formed by its characteristic, essential spatial features.
Smart words about counterform
Any incentive model is perceived in such a way that the resulting structure will be as simple as given conditions allow.
ABOUT SIMPLICITY
When a work of art is praised for its “inherent simplicity”, then by this they mean the organization of all the richness of meanings and forms in overall structure which clearly and precisely defines the place and function of each detail in a single whole.
In an absolute sense, an object is simple when it consists of a small number of characteristic structural features. In a relative sense, an object will be simple when complex material is organized in it with the help of the smallest possible number of characteristic structural features.
Characteristics are structural properties that—when we are talking about the appearance of an object - can be described based on the size of distances and angles.
Smaller number characteristic features on limited area often contributes to more of the characteristics of the whole, or, in other words, what makes a part simpler may make the whole less simple.
I believe that the desire for the simplest structure inherent in the activity of the brain makes the result of perception as simple as possible. But the simplicity of the resulting experience also depends on: a) the simplicity of the stimulus from which the perceptual model arises; b) the simplicity of the meaning that the object of perception conveys; c) the interdependence of the meaning and the result of perception; d) the psychological "attitude" of the perceiving subject.
A very simple meaning, clothed in an appropriate simple form, will result in the greatest simplicity. (In a work of fiction, this phenomenon is usually boring.)
A part is a section of the whole, which, under given conditions, shows some degree of separation of a particular section from the environment.
These rules [grouping rules formulated by Wertheimer] can be considered an application of one of the main principles - the "principle of similarity". This law states that the more parts of any visually perceived model are similar in some perceptual quality to each other, the more they will be perceived as located together.
Form
Orientation in this case exists only relative to the structure of the object. The perception of the position of an object is actually influenced by not one, but three such structures: 1) the structural basis of the visually perceived objective world, 2) the visual area of the brain onto which the image is projected, and 3) structural features of the observer's body, which has kinesthetic perception through muscular sensations and the balance organ in the inner ear.
So, the dynamic effect is not the result of either the imaginary movement of the viewer relative to the picture, nor the depicted object relative to the perceiving subject. On the contrary, the dynamic effect is achieved as a result of tension created by visually perceived contradictions in the pictorial model itself.
The early stages of the development of art contributed to the emergence of a simple form. However, the opposite cannot be said: that the simple form was always the product of early art.
If we remove an Egyptian figure made of stone or a 14th-century church altar from their usual surroundings and place them in a museum as an independent work, then the limitations of their old form and content will immediately be revealed, since the new context requires them to new form and new content.
In fact, the development of the artistic imagination could be more accurately described as finding new forms for an old content, or (if one does not involve the dichotomy of form and content) as a new concept of an old subject.
The artist's choice of this or that decision depends on the following factors: a) who the artist is, b) what he wants to say, c) what are the way and means of his thinking.
Development
About children's drawing
« General concept about the triangle "is the main, primary result of perception, and not a secondary, secondary concept. The distinction between individual triangles comes later, not earlier. The general concept of a dog is realized and felt much earlier than the idea of any particular dog. If this is true, then the early artistic images, based on naive observation, must deal with universals, that is, with simple universals structural features. This is what is actually happening.
If I wish to depict the "roundness" of such an object as a human head, I cannot use the forms actually represented in it, but must find or invent a form that would sufficiently embody the visual universality of the idea of a circle inherent in the world of real things. . If for a child a circle symbolizes a human head, then this circle is not given to him in the object itself. She is his brilliant discovery, an impressive achievement, which the child came to only as a result of difficult experimentation.
Capturing the "feel" of a tomato in pictorial form distinguishes the reaction of the painter from the formless contemplation that is characteristic of the non-artist when he reacts to the same objects.
The processes of drawing with a pencil, painting a picture, modeling various bodies and figures are types of human motor behavior, and it can be assumed that they developed from the two most ancient and most general types of behavior: descriptive and physiognomic movement.
Physiognomic movement is component bodily activity, which spontaneously reflects the nature of a given person, as well as the nature of a particular sensation at a given moment. Fortitude or weakness, arrogance or shyness of a person - all these traits are expressed in his movements. At the same time, the behavior of his body reveals whether he is interested or bored, happy or sad at the moment.
Descriptive movements are intentional gestures designed to express certain visual sensations. We can use our arms and hands, often with our whole body to help them, to show how big or small an object is, whether it has given subject round or angular shape, slow or fast this or that movement, close or far something is located from us.
Gestures often describe the shape of objects according to their contour, according to their outlines, and it is for this reason that the image of the contour is, apparently, psychologically the most simple and natural method of creating an image with the help of hands. Filling a surface with paint, modeling a sculpted object, or carving wood entails movements that may lead to a desired shape, but which are not in themselves an imitation of that shape.
Due to the principle of simplicity in visual perception, a round shape is preferred. The circle, with its direction-independent central symmetry, is the simplest visually perceptible model. We know that perception spontaneously tends to roundness when a stimulus gives it the opportunity to do so. Our attention is drawn to the perfection of the round shape.
In accordance with this law [the law of differentiation], the perceptual feature of the perceived object, while it is not yet differentiated, is reproduced as far as possible in the simplest way. The circle is the simplest possible shape available to the visual media. As long as the form does not become differentiated, the circle will not symbolize the generalized concept of a circle, but will mean any form in general and none in particular.
The child will not begin to reproduce oblique dependencies before he has fully mastered the stage of vertical-horizontal relations, unless premature complexity is imposed on him by a teacher or other authorities. On the other hand, one can easily observe how children grope for higher stages of differentiation because they are not satisfied with the limitations of the previous stage.
It must not be forgotten that one cannot ascend to a higher stage of drawing unless an earlier stage has preceded it.
The art student who imitates the performing style of his adored teacher is in danger of losing his intuitive sense of right and wrong, because instead of mastering the pictorial form, he tries to imitate it. His work, instead of being convincing and congenial for him, is disconcerting.
Composer Arnold Schoenberg, the author of the most intricate music, told his students that their works should be as natural to them as their hands and feet. The simpler these works will seem to them, the better they will actually be. “If anything you write looks too complicated for yourself, you can be sure that there is no smell of truth there.”
Space
In general, the laws of perspective imply that the larger objects are, the closer they appear to the subject who perceives them.
The parts located below tend to be closer to the viewer.
It has been established that surfaces painted in colors located in the short-wavelength range of the light spectrum, mainly blue or cyan, look further away from the subject perceiving them than surfaces painted in long-wavelength colors, primarily red.
For most people, convex columns are most often perceived as figures because, according to one of the patterns formulated by Rubin, convexity tends to win over concavity.
The basic rule is that the version of the figure-ground pattern that creates a simpler holistic model will prevail. For example, the simpler the shape that the gaps between the figures depicted in the figure have, the more likely they will be perceived as certain models, and not as a limitless background.
As the space of the picture became an independent object and freed from the walls, it became necessary to distinguish between the physical space of the room and the independent world of the picture. This world begins to be perceived as infinite - not only in depth, but also in the literal sense of the word. Therefore, the boundaries of the picture indicate only the end of the composition, but not the end of the depicted space. The frame of the picture was considered as a window through which the viewer looks into the outside world, squeezed by the boundaries of the frame, but not limited by it. In the spirit of our modern discussions, this meant that the frame in the picture should play the role of a figure, and the space of the picture should play the role of an unrestricted base.
The frame, either narrowing to a thin strip (the limit of such narrowing is a contour), or stepping back, adapts to its new function: to give the picture the character of a limited surface, the character of a “figure” located in front of the wall.
There are various ways to resolve this dilemma [the window - a small limited space on the base plane - had to be a "figure" and at the same time it acted as an opening in the wall]. One of these paths is carried out using a traditional cornice. A cornice is not only a decoration, but also a certain way of framing a window. It emphasizes the character of the figure inherent in the opening, and forms a protrusion at the bottom, which limits the surface of the wall as a base. Another solution is to expand the window area. As a result, the walls are reduced both vertically and horizontally to the size of narrow ribbons or strips.
In architecture, a concave shape is more acceptable. This is partly because architectural structure is not only an imitation of organic bodies, but partly because architecture always has to deal with hollow interiors. Any interior, regardless of its appearance there is always a gap.
We see in flat pictures an image of depth because we adapt our experience of dealing with three-dimensional bodies in physical space to them.
Conditions of Distortion
The outline of visually perceived model A will look distorted if it can be obtained by applying to model B, which is more simplified than A, a change in the shape of C, which is also somewhat simpler than A; this change takes place along axes that do not coincide with the axes of model B and do not abolish these axes.
The frontal location of the rhombus gives way to the oblique position of the square. The oblique position of the figure is less simple than the frontal, so that we gain simplicity and at the same time lose it. Therefore, when we are dealing with volumetric perception, we should keep in mind that not distorted form in a tilted position contributes to a simpler overall situation than a distorted form in a frontal position.
When simple symmetry is achieved in two dimensions, then we will see flat figure. If the achievement of symmetry entails a third dimension, then we will see a three-dimensional body.
The perception of a model as two-dimensional or as three-dimensional depends on the option with which a simpler model is formed.
The strength of the visual experience achieved through perspective focusing depends mainly on three factors: the angle of convergence, the degree of visibility of the distorted object, and the viewer's distance from the picture.
Convergence will be more impressive when, for example, railroad tracks are shown in their entirety throughout the visual field, and not just in separate small sections.
Convergence also depends on the angle at which the object is shot. When the line of sight of the camera intersects the surface of the photographed object at a right angle, no distortion is observed. But if the angle deviates from 90 degrees, foreshortening and convergence increase.
Light
If we are dealing with a frequent repetition of an event or with the repeated perception of a thing and have learned to respond to them quite calmly, then, in all likelihood, our mind and our feelings will not actively respond to them.
The artist's concept of light is formed under the influence of the general position of a person and his reaction. This is done in two ways. Firstly, light for the artist is of practical interest as a means of focusing attention. Secondly, the artist's conception of light is based on the readings of his own eyes—readings that are themselves quite different from the scientist's view of physical reality.
The brightness of objects on earth is perceived mainly as a property of themselves, and not as a result of reflection. Regardless of the special conditions... the illumination of a house, a tree or a book lying on the table is not perceived by us as some kind of gift from a distant source.
The observer cannot make a strict distinction between the brightness of an object and its illumination. In fact, he does not see any illumination at all, although he may be aware of the existence of a light source or even see it.
Whether a handkerchief looks white or not does not depend on the absolute amount of light that it sends to the eye, but on its place in the scale of the ratio of brightness that is observed at a given time. If all ratios of brightness in a given visual field are changed in the same proportion, then it will seem that each ratio has remained "constant". But if the distribution of the brightness ratio has changed, then each ratio will change accordingly and there will be no constancy here.
The glow is somewhere in the middle of a continuous scale that starts with bright light sources (the sun, fire, electric lamps) and extends to the subdued illumination of everyday objects.
One of the conditions, but not the only one, for the perception of a glow is that the object must have a ratio of brightness that would be much higher than the scale set for the rest of the visual field. Its absolute brightness can be quite low, such as we see, for example, in glowing golden tones on famous paintings Rembrandt, which have not faded for three centuries. On a darkened street, a piece of newspaper sparkles like a light.
In a uniformly lit object, it is impossible to see where it gets its brightness from. Its luminosity, as I said before, seems to be a property intrinsic to the object itself. The same can be said for an evenly lit room. theater stage viewed from a darkened room does not necessarily give the impression that it is being illuminated at the moment. When the light is evenly distributed, the scene can appear as a very bright world, a huge luminary.
In order to create the impression of a uniformly increasing distance, the scale of darkness projected onto the retina of the eye must increase at a certain rate in accordance with the laws of perspective in pyramidal space.
Parallel surfaces are "linked" together by the eyes, regardless of their location in the terrain, and this network of relationships is a powerful tool for creating spatial order and unity. If a fly crawling over an object experiences nothing but an incomprehensible and irregular sequence of ups and downs, then the attentive human eye perceives the whole, comparing all spatially related areas.
Modern fashion in the art of interior decoration dictates that the walls in which the windows are located are painted a little brighter than the walls on which the light falls directly. This partially compensates for the effect of illumination and contrast.
In order for the eye to be able to distinguish the illumination of objects from their brightness, two conditions must apparently be satisfied. First, all luminance ratios due to illumination must be summed up in a visually simple, unified system; similarly, the model of dark and light tones on the surface of an object should be fairly simple. Secondly, the structural models of the two systems should not coincide.
Artists such as Caravaggio used sometimes strong side light to simplify and coordinate the spatial organization of their paintings. Roger de Piles French writer XVII century, said that if the objects are arranged in such a way that all the light is collected together on one side, and the shadows on the other, then such a collection of light and shadows will prevent the eye from wandering. “Similar distribution of sources Titian called a bunch of grapes, because the grapes, when divided, have their own light and shadow equally and thus split the view in many directions, resulting in confusion; but if the fruits are collected in a whole bunch in such a way that one mass of light and one mass of shadow is obtained, then the eye grasps them as a single object.
Shadows can be applied or cast. Superimposed shadows lie directly on objects, but they themselves are formed by their shape, spatial orientation and distance from the light source. Cast shadows are shadows that are cast from one object to another, or from one part of an object to another part of it.
There are two points that our eye must understand. The first is that the shadow does not belong to the object on which it is visible, and the second is that the shadow belongs to the object on which it does not fall.
A few words should be said about the convergence of shadows. Because the sun is so far away that its beams become nearly parallel over a fairly narrow range of space, the light creates an isometric projection of the shadow, that is, lines that are parallel in the object are also parallel in the shadow.
But the shadow is subject to perspective distortion, just like any other visually perceived object. Therefore, it will appear to converge away from the point of contact with the object when it is behind the object, and divergent if it lies in front of it.
The subject appears illuminated not only because of its absolute brightness, but also because it greatly exceeds the level of illumination of the rest of the canvas. Thus, the mysterious light of rather dark objects is revealed when they are placed in an even darker environment. Moreover, luminosity occurs when brightness is not perceived as the result of illumination. To do this, shadows must be eliminated or at least minimized, and the brightest light must appear within the boundaries of the subject itself.
There are two main ways of depicting lighting in a painting. The simplest and oldest method reflects the experience of perceptual separation in the very process of creating a picture. The object is endowed with a uniform local color and brightness, on which light and shadow are superimposed separately. Another method makes it possible to inform the eye of the already combined stimulus that it receives from the physical space. If each place of the picture is characterized by the corresponding ratio of brightness and color, then the viewer will subdivide and perceive the illumination of the picture in the same way as he does in physical space.
Color
Rorschach found that calm moods promoted responses to color, while depressed people were more likely to respond to shapes. Dominance of color indicates openness to external stimuli. People who prefer color are sensitive, easily influenced, unstable, disorganized, prone to emotional outbursts. Preference and response to the form is characteristic of introverted people, characterized by strict self-control, pedantic, unemotional attitude to everything around them.
Like color, emotion evokes in us only a certain attitude. On the contrary, the form seems to require a more active response. We carefully examine the object, establish its structural basis, correlate the parts with the whole. In a similar way, consciousness acts under the influence of our impulses, it uses patterns, coordinates different kinds experience and solves issues related to the process of activity. When color is perceived, the action comes from the object and thus affects the person. To perceive form, organized thinking turns to the object.
The inertia of the perceiving subject and the immediacy of experience are more characteristic of reactions to color. Form perception is characterized by active control.
Charles Feret discovered that the strength of muscle contractions and the speed of blood circulation increase from the degree of coloring of light, and in a certain sequence - least of all from the presence of of blue color, slightly more from green, then from yellow, orange and red. This physiological feature of the human body is entirely confirmed by psychological observations of the effect caused by this color, but there is nothing to confirm whether we are dealing here with a secondary consequence of perception or whether there is a more direct influence of light energy on motor behavior and blood circulation.
In one of his early studies, Sidney L. Pressey had his subjects perform simple motor actions, such as rhythmic finger tapping, in varying degrees of brightness and illumination. He found that under dim lighting, the activity of the subjects froze, and in bright light, it greatly increased. The difference in color shades did not affect the change in the actions performed.
Kandinsky says: "Of course, any color can be cold and warm, but nowhere is this contrast more noticeable than in red." Despite all its energy and intensity, the color red glows in itself and does not radiate energy to the outside, thus achieving full masculine strength. He is an inexorable burning passion, a great power in himself. Yellow never carries deep meaning and is a waste of time. It is also true that Kandinsky spoke of him as a color capable of depicting violence or the delirium of an insane person. But here he probably meant a very bright yellow, which seemed unbearable to him, like the shrill sound of a bugle. Dark blue sinks "in deep contemplation of all things that have no end", while light blue "reaches a silent calm".
The appearance and expressiveness of color change depending on the content and theme of the artwork.
Movement
expressiveness
The impact of the forces conveyed by the visual model is an intrinsic property of the object of perception, just like shape and color.
If expressiveness is the main content of perception in everyday life, then this is even more characteristic of the artist's vision of the world. For him, expressive properties are means of communication. They attract his attention, and with their help he understands and interprets his experience, they determine the form of the models that he creates. Therefore, the training of art students should consist mainly in sharpening their sense of these expressive qualities and teaching them to look at expression as the leading criterion for every touch of a pencil, brush or chisel.
One of the moments of wisdom that refers to true culture, is a constant awareness symbolic meaning, expressed in each specific event, the feeling of the universal in the specific. This awareness gives dignity to any daily activity, and prepares the ground on which art is based and grows.
The appreciation of art is determined by the fact that it helps a person to understand the world and himself, and also shows him what he has understood and what he considers true. Everything in this world is unique, individual, no two things are the same. However, everything is comprehended by the human mind and comprehended only because - each thing consists of moments that are inherent not only in a particular object, but are common to many other or even all things.
Expressiveness is the crown of all perceptual categories, each of which contributes to the emergence of expressiveness through visually perceived tension.
Any visual model is dynamic. This most elementary property actually turns out to be the most significant attribute artwork, because if a sculpture or a painting did not express the dynamics of tension, they would not be able to accurately reflect our life.
Perception can be interpreted as a process of changes that are carried out in the sense organs and the psyche of the individual as a result of the impact on them of individual characteristics of a physical object.
Empirical characteristics of visual perception
At its core, the process of perception has a dual nature: perception is as objective as possible at the level of primary sensory processes; at the same time, perception is deeply subjective in the implementation of the subsequent interpretation of the information received, when imagination and memory are included in the processing.
In addition, perception has a number of unique characteristics, including the properties of constancy, objectivity, integrity, and generalization.
Constancy as one of the characteristics of visual perception
Definition 2
The category of constancy is understood as relative stability, independence of the image from the conditions of its perception. Constancy is reflected in the fact that the size, shape, color, size of a physical object are perceived as constant, despite the fact that the signals coming from the analyzed objects are constantly changing.
The constancy of perception is provided by the active actions of the perceptual system.
revalue given quality perception is difficult: in the absence of this property, at the slightest movement, changes in the distance to the object, with every turn of the head, changes in lighting, all the main features of the object of the surrounding social and natural environment, the surrounding reality itself would constantly change, which would significantly complicate the process of cognition of objective reality, would make it difficult for the individual to orient himself in the world around him.
Objectivity as an essential characteristic of visual perception
Definition 3
human brain separates the information coming from the perceptual system from surrounding reality into two unequal parts: the background, which is perceived as an amorphous, unlimited, indefinite field, and the subject - a clearly defined, concrete, located in the foreground whole.
The clarity of the selection of an individual object is largely due to the contrast. In the absence of a pronounced contrast, the physical object merges with the background, which significantly complicates the processes of its cognition.
There are two types of contrast: direct, in which the object is darker than the background, and reverse, in which the object is perceived as brighter than the background.
Integrity as an empirical characteristic of visual perception
Definition 4
The integrity of visual perception in modern scientific literature is understood as a characteristic of the process, the essence of which is that any physical object is perceived as a whole, even if the individual components of this object remain currently inaccessible to observation.
Integrity is an acquired characteristic of a perceptual image, formed as a result of objective activity and reflex processes of a personality, when an individual, on the basis of accumulated existential experience, combines the individual characteristics of an object into a single whole.
The independence of the perception of the whole from the quality of its individual components is manifested in the dominance of the integral structure over the individual components.
Thus, visual perception is one of the most important receptor-psychic processes of the individual, providing the individual with the possibility of cognizing the environment, forming images of objects of reality in the mind of the individual.
Lecture 2
Application of the laws of visual perception in composition. The organization of the composition.
There are 5 laws of visual perception, which are based on the psychophysiological concept of a person's visual perception of the surrounding world: completion, continuity (gaze movement), similarity, neighborhood, alignment.
Law of Completion is based on the property of the human brain to independently create or supplement the missing visual-figurative information and fill in its missing parts. With this technique, the viewer is involved in the creative process, independently completing the missing parts, visually striving to complete the form.
Law of Direction of Movement: - a person's gaze subconsciously chooses movement from left to right, from darker to lighter, the gaze moves towards the light and behind the light; - starting the review in a certain direction, the viewer will look in that direction until something else (more interesting) distracts his attention. Using the law of continuity, it is possible to create and organize a flow of visual information in a composition, causing the viewer to feel a sense of compositional movement, activity and dynamism.
Law of similarity- objects of the composition that have similar features and properties, such as shape, size, visual mass, color and light and shade, texture and texture, as well as location on the picture plane, will be perceived by the viewer as interrelated objects (similarity in shape, size, color, texture ).
Neighborhood law(proximity) – composition objects that are closer to each other are perceived as belonging to the same group (neighborhood, touch, overlay).
Law of Leveling – is based on the subconscious desire of the brain to align visual objects with respect to each other, taking into account their relative position (as well as shape, size, mass, color and texture). Any object has its own axes - 2 central, top, bottom and two on the sides. Aligning other composition objects with respect to these axes creates groups, which ultimately leads to a uniform composition shape. Alignment types: edge (horizontally, vertically), central, relative to inclined axes.
Basic principles of visual perception- follow from the laws of visual perception, their creative use can ensure the completeness and unity of the composition. These are the principles of limitation (selection), contrast, accent, dominant, balance, rhythm, harmony, general unity.
A well-known compositional technique - the division of the text, the division of the whole into a limited number of groups, the grouping of elements - is necessary, because the whole is mastered by such a method of successive approximation. This method is due to the presence of a physiological threshold of perception, our brain can simultaneously perceive no more than 5_7 elements or groups
simultaneously. With a large number of elements, the form is no longer perceived as a whole and seems fragmented. Basic principles of visual perception- derived from laws visual perception, creative use of them can ensure the completeness and unity of the composition. These are the principles: limitation (selection), contrast, accent, dominant, balance, rhythm, harmony, general unity.
The principle of limitation, selection- the objects of the composition must be selected so as to create and maintain visual interest. Visual interest arises in a person when something new, with unexpected signs, or familiar, but organized in a new way, evokes a sufficient emotional response. The visual system and the human brain can perceive only a certain number of shapes, sizes, colors, textures in the composition, the task is not to overload the viewer with an abundance of visual objects, their complexity. An artistic composition is created not only by fitting elements, but by selecting such elements that convey the emotions and mood of the author.
The principle of contrast opposite, two or more objects of the composition with fairly pronounced opposite properties: size, shape, color, light and shade difference, location, texture. With the help of contrasting oppositions, you can:
Create dynamic tension (conflict) between the objects of the composition;
Mutually reinforce the properties of objects;
Increase visual variety.
Opposites arouse human interest, as well as natural phenomena in life - youth-old age, heat-cold, fire-water.
The principle of emphasis to draw the viewer's attention to a certain part of the composition (in the center of interest) by increasing the size, distorting the shape, brightening the color, detailed elaboration, direction of gaze movement
Laws of composition
"Law the whole determines the ratio of the parts of the whole in size to each other and to the whole;
law proportions th determines the location of the parts of the whole;
law rhythm expresses the nature of the repetition or alternation of parts of the whole;
law symmetry determines the location of the parts of the whole;
law main as a whole shows what the parts of the whole are united around. All these five laws of composition with
The quality of the subject-spatial environment seen by a person does not always correspond to reality. This is due to optical illusions, which are caused by both the physical properties of objects and the features of a person’s vision, as well as his primary orienting skills.
When looking at a complex subject formation, a person seeks to reduce this complexity to a simple, more ordered system: symmetry has a grouping effect, asymmetry separates. The perception of three-dimensional - spatial forms largely depends on the position of the viewer in relation to these forms.
These signs are a visible manifestation of those most important principles of composition that underlie compositional construction. This:
1. The principle of expediency.
2. The principle of the unity of the complex (the integrity of the work).
3. The principle of dominance (the presence of the main, leading principle).
4. The principle of subordination of parts as a whole.
5. The principle of dynamism (movement is the basis of life and art).
6. The principle of balance, balance of parts of the whole.
7. The principle of harmony (harmonic unity of the elements of form among themselves and the unity of form and content in the composition based on the dialectical unity of opposites).
Creating a work of art, that is, harmony, it is necessary to fulfill its two indispensable conditions: the first is balance, the second is unity and subordination. These are the basic laws of composition.
Balance, unity and subordination, compositional center - Let's focus on compositional balance. balance - such a state of the form, all elements are balanced among themselves, it depends on the location of the elements among themselves relative to the center. Balance is achieved by equalizing the expressiveness of groups or elements of the composition, balancing the forms and processing style - for example, the sameness of the right and left sides, based on symmetry. However, this concept should not be confused with a simple equality of quantities. Equilibrium depends on the location of the main masses of the composition, on the organization of the compositional center, on the plastic and rhythmic construction of the composition, on its proportional divisions, on the color, tonal and textural relations of individual parts between themselves and the whole, etc.
Achievement of equilibrium at asymmetries- individual elements that have their own compositional structure (axes, rhythm, center) balance each other in such a way that the general is visually stable and static.
Equilibrium manifests itself differently in symmetrical and asymmetrical positions. Symmetry in itself is not yet a guarantee of balance in the composition. Quantitative discrepancy between the symmetrical element and the plane (or disproportion
parts and the whole) becomes visually unbalanced. Man is always
gravitates towards the balance of forms, which creates a more complete psychological
comfort, harmony of living in the object-spatial environment. It is much easier to balance a symmetrical composition than an asymmetric one, and this is achieved by simpler means, since symmetry already creates the prerequisites for compositional balance. Equilibrium can also be dynamic- the internal movement of parts that creates the impression of instability, but does not go beyond the whole, must be stopped by details that calm the internal movement and prevent the details from breaking out of the compositional space.
Thus, we can conclude that none of the means and laws of composition individually will create a harmonious work, since everything is interdependent or balanced. If, in his creative search, the artist begins to more actively use one of the means to create a more expressive artistic image, then the result of this approach should be a reassessment of the entire compositional structure of the work. It may be necessary to change its proportions, increase or, conversely, reduce the number of composition elements, revise tonal and color relationships, etc.
Symmetry, asymmetry, static and dynamic. A correctly found symmetrical composition is perceived easily, as if immediately, regardless of the complexity of its construction. . Asymmetrical sometimes it requires a longer reflection and is revealed gradually. However, the assertion that a symmetrical composition is more expressive is incorrect. The history of art confirms that compositions built asymmetrically according to the laws of harmony are in no way inferior, in terms of artistic value, to symmetrical ones. The choice of construction or structure of the work depends on the artistic vision of the author, on his desire to find a more expressive composition to create a specific artistic image. The most commonly used types symmetry are mirror with vertical or horizontal axis, centric, angular. Actively used symmetry in architecture, arts and crafts, less often - in easel painting, graphics, sculpture. This technique is especially good for assertive themes, since it allows the viewer to focus on the depicted without internal hesitation. Therefore, symmetry was very actively used in cult painting. If we carefully consider the composition of the iconostasis of an Orthodox church, we will see its vertical axial construction. The picturesque construction is echoed by architectural details, which, like a rod, are mounted on an axis. However, upon closer examination, one can also notice obligatory deviations from symmetry (either in the curl of the hair, or in the depth of the interpretation of the wall relief), which gives a certain picturesqueness to this technique, creates a “false” symmetry.
We have already mentioned centric symmetry, actively attracting attention to the center, as well as about the corner. Unlike the centric one, movement is created in it. Movement towards the center is centripetal, movement away from the center is centrifugal. Such a compositional technique was widely used and is now used in decorative and applied arts: when painting ceramic dishes, scarves, in solving plafonds, floor planes in the interior, etc.
Properties and qualities of the composition:
Harmonious integrity and imagery of form, - are laid down already at the stage of formation of the volume-spatial structure. Therefore, work on the form should be carried out at the beginning of the design, when the structural scheme, the layout principle is revealed, i.e. placement and interconnection of the main parts of the object.
The main and secondary in the composition
principles of limitation (selection), contrast, accent, dominant, balance, rhythm, harmony, general unity.
First conversation about harmony in composition about its basic and indispensable condition - balance - led us to the logical conclusion that everything is interdependent: the number of elements, and their configuration, and their relationship with the compositional plane and among themselves, and their color, tone and texture solution, etc. Therefore, in order to achieve the fulfillment of one law of harmony, it is necessary to fulfill the conditions of the second law - unity and subordination. And vice versa: creating the unity, integrity of the work, you thereby solve the problem of its balance. Only by fulfilling these two conditions, you can say that you have created a harmonious composition.
...Harmony there is a connection of various parts into a single whole. This connection
the most complex, the most subtle, the most diverse. It is clear that the parts can be connected with each other so that they represent some complete whole only due to the similarity of the things themselves, in other words, due to the common that is contained in each part. This should be expressed in the unity of the plastic solution, figurative and semantic disclosure of the theme, in the unity of shaping, coloristic and texture solutions. Unity can be achieved through subordination. But before looking into the various subordination options, pay attention to organization composition center , since subordination occurs mainly between the center and other elements. It is the compositional center that expresses the artistic image and carries a semantic load. However, there is also such a principle of compositional construction, when the “pause” can turn out to be the center. When organizing composition center the laws of visual perception of the plane should be taken into account. As a rule, it is located in the active, central part of it. Offset from Geometric Center sometimes gives the work a great internal tension and plastic expressiveness in the disclosure of the artistic image and theme.
Let's look at a few options. In a composition consisting of simple
perception of elements, an element appears that is complex in silhouette. Of course he will get attention. stronger than a group of simpler ones. It is he who, due to his complexity, will begin to play a role dominants or composition center. However, it is necessary to fulfill the condition of unity and subordination of the entire composition. In this example, subordination can be expressed in subordination to a complex center of a coloristic solution or in the introduction of new forms similar in silhouette - lines, as well as in the use of such means of harmonization as rhythm, contrast, nuance and identity, a specific discussion of which will be discussed below.
The history of art offers us various schemes for constructing compositions. In one version of the solution, the organization of the compositional center is carried out by small in the form of an element, and in the other - the most big. The composition of which is the center pause- the first is the creation of movement towards the center, which is not expressed by any form, by using one of the means of harmonization - rhythm. The second is the arrangement of elements similar in shape, color and texture, without any emphasis. Thus, the composition is like a frame.
Have you ever wondered how we see objects? How do we snatch them from the entire visual diversity of the environment with the help of sensory stimuli? And how do we interpret what we see?
Visual processing is the ability to comprehend images, allowing humans (and even animals) to process and interpret the meaning of the information we receive through our vision.
visual perception plays important role in everyday life, helping in learning and communicating with other people. At first glance, perception seems to be easy. In fact, behind the supposed ease lies a complex process. Understanding how we interpret what we see helps us design visual information.
Balanced infographics involve smart use visual presentation(e.g. charts, graphs, icons, images), appropriate choice of colors and fonts, suitable layout and sitemap, etc. And we should not forget about the data, its sources and themes, which is equally important. But today we will not talk about them. We will focus on the visual side of information design.
Psychologist Richard Gregory (1970) was convinced that visual perception depends on top-down processing.
Top-down processing, or conceptually driven process, occurs when we form an idea of big picture from small parts. We make assumptions about what we see based on expectations, beliefs, prior knowledge, and previous experience. In other words, we are making a deliberate guess.
Gregory's theory is supported by numerous evidence and experiments. One of the most famous examples is the hollow mask effect:
When the mask is turned to the hollow side, you see a normal face
Gregory used Charlie Chaplin's spinning mask to explain how we perceive the mask's hollow surface as bulges based on our understanding of the world. According to our previous knowledge of the structure of the face, the nose should protrude. As a result, we subconsciously reconstruct a hollow face and see a normal one.
How do we perceive visual information according to Gregory's theory?
1. Almost 90% of the information coming through the eyes does not reach the brain. Thus, the brain uses previous experience or existing knowledge to construct reality.
2. The visual information that we perceive is connected to previously stored information about the world that we have received empirically.
3. Based on various examples The theory of top-down information processing implies that pattern recognition is based on contextual information.
Information Design Tip #1 from Gregory's Visual Assumption Theory: Supplement the data with an appropriate theme and design; use a meaningful title to set key expectations; support the visuals with expressive text.
2. Sanoka and Sulman's experiment on color ratios
According to numerous psychological studies, combinations of uniform colors are more harmonious and pleasant. While contrasting colors are usually associated with chaos and aggression.
In 2011, Thomas Sanocki and Noah Sulman conducted an experiment to study how color matching affects short-term memory, our ability to remember what we just saw.
Four different experiments were carried out using harmonious and disharmonious color palettes. In each trial, the participants in the experiment were shown two palettes: first one, then the second, which had to be compared with the first. The palettes were shown with a certain time interval and several times in random combinations. The subjects had to determine whether the palettes were the same or different. Also, the participants of the experiment had to evaluate the harmony of the palette - a pleasant / unpleasant combination of colors.
Below are 4 examples of palettes that were shown to the participants in the experiment:
How do colors affect our visual perception according to the theory of Sanoka and Sulman?
- People remember better those palettes in which colors are combined with each other.
- People remember palettes containing only three or fewer colors more than those with four or more colors.
- The contrast of adjacent colors affects how well a person remembers a color scheme. In other words, this means that the color difference between context and background can enhance our ability to focus on context.
- We can remember quite a large number of color combinations at the same time.
Thus, the results of the experiment indicate that people are better able to absorb and remember more information, perceiving images with a contrasting but harmonious color scheme, preferably with a combination of three or less colors.
Information design tip #2 based on Sanoka and Sulman's experiment: use as few different colors as possible in complex content; increase the contrast between visual information and background; choose themes with a harmonious combination of shades; use disharmonious color combinations wisely.
Binocular rivalry occurs when we see two different images in the same place. One of them dominates, and the second is suppressed. Dominance alternates at regular intervals. So, instead of seeing a combination of two images at the same time, we perceive them in turn, as two competing images for dominance.
In 1998, Frank Tong, Ken Nakayama, J. Thomas Vaughan and Nancy Kanwisher concluded in an experiment that if you look at two different images at the same time, there is a binocular rivalry effect.
Four trained people participated in the experiment. As stimuli, they were shown images of a face and a house through glasses with red and green filters. In the process of perception, there was an irregular alternation of signals from the two eyes. The stimulus-specific responses of the subjects were monitored using functional magnetic resonance imaging (MRI).
How do we perceive visual information according to Tong's experiment?
- According to MRI data, all subjects showed active binocular rivalry when they were shown dissimilar pictures.
- In our visual system, the binocular rivalry effect occurs during the processing of visual information. In other words, for a short period of time, when the eyes look at two dissimilar images located close to each other, we are not able to determine what we are actually seeing.
David Carmel, Michael Arcaro, Sabine Kastner and Uri Hasson conducted a separate experiment and found that binocular rivalry can be manipulated using stimulus parameters such as color, brightness, contrast , shape, size, spatial frequency or speed.
Manipulating the contrast in the example below causes the left eye to perceive the dominant image, while the right eye perceives the suppressed one:
How does contrast affect our visual perception according to the experiment?
- Manipulating the contrast causes a strong stimulus to be dominant for a greater amount of time.
- We will see the merging of the dominant image and part of the suppressed image until the effect of binocular rivalry occurs.
Information Design Tip #3 Based on the Binocular Rivalry Effect: N do not overload the content; use themed icons; highlight key points.
4. The influence of typography and aesthetics on the reading process
Did you know that typography can affect a person's mood and ability to make decisions?
Typography is the design and use of fonts as a means of visual communication. Nowadays, typography has moved from the field of typography to the digital sphere. Summarizing all possible definitions of the term, we can say that the purpose of typography is to improve the visual perception of the text.
In their experiment, Kevin Larson (Microsoft) and Rosalind Picard (MIT) found out how typography affects the mood of the reader and his ability to solve problems.
They conducted two studies, each with 20 participants. Participants were divided into two equal groups and given 20 minutes to read an issue of The New Yorker magazine on a tablet. One group got text with poor typography, the other with good typography (examples are given below):
During the experiment, participants were interrupted and asked how much time they thought had passed since the start of the experiment. According to the data psychological research(Weybrew, 1984): People who find what they do enjoyable and are in a positive mood report spending much less time reading.
After reading the texts, the participants in the experiment were asked to solve a problem with a candle. They had to attach the candle to the wall in such a way that the wax would not drip, using push pins.
How do we perceive good typography and its impact?
- Both groups of participants incorrectly estimated time spent reading. This means that reading was an exciting activity for them.
- Participants who were given text with good typography significantly underestimated reading time compared to participants who were given text with bad typography. This means that the first text seemed more interesting to them.
- None of the participants who read the text with bad typography could solve the candle problem. While less than half of the second group coped with the task. Thus, good typography affected the ability to solve problems.
Information design tip #4, based on Larsen and Picard's typographic influence experiment: use readable fonts; separate text from images; do not overlay pictures or icons on text; Leave enough space between paragraphs.
5. Perception of the essence of the scene according to Castellano and Hendersen
Have you ever wondered what the phrase “one picture says more than a thousand words” really means? Or why do we perceive images better than text?
This does not mean that the image tells us all the necessary information. It's just that a person has the ability to grasp the main elements of a scene at a glance. When we fix our gaze on an object or objects, we form general idea and recognize the meaning of the scene.
What is the perception of the essence of the scene? According to Nissan Research & Development researcher Ronald A. Rensink:
“Scene gist perception, or scene perception, is the visual perception of the environment as an observer at any given time. It includes not only the perception of individual objects, but also such parameters as their relative position, as well as the idea that other types of objects are encountered.
Imagine that you see some objects, which are two signboards with symbols, and a diagram symbolizing a fork and indicating two different paths. Most likely, the following scene appeared before you - you are in the middle of the jungle / forest / highway and there are two paths ahead that lead to two different destinations. Based on this scene, we know that we need to make a decision and choose one path.
In 2008, Monica S. Castelhano of the University of Massachusetts Amherst and John M. Henderson of the University of Edinburgh studied the effect of color on the ability to perceive the essence of a scene in an experiment.
The experiment included three different trials. The students were shown several hundred photographs (of natural or man-made objects) under different conditions for each test. Each image was shown in a specific sequence and point in time. Participants were asked to answer "yes" or "no" when they saw the details that matched the scene.
Normal and blurry photos were presented with color and monochrome, respectively.
To determine the role of colors in the perception of the essence of the scene, anomalous colors were used for the following photographic examples:
How do we perceive visual information based on the findings of Castellano and Hendersen?
- The subjects grasped the essence of the scene and the target object in seconds. This means that people can quickly understand the meaning of a normal scene.
- The subjects matched the color pictures faster than the black-and-white ones. Thus, color helps us understand the picture better.
- In general, colors determine the structure of objects. How better color corresponds to how we usually perceive the world, the easier it is for us to understand the meaning of the image.
Information design tip #5 based on Castellano and Hendersen's scene perception studies: use appropriate icons or pictures to represent data; place content in correct sequence; use familiar colors for important objects.
conclusions
Understanding how people perceive visual information helps improve infographics. Summarizing the conclusions of the considered experiments, we bring to your attention the key tips for the design of visual information:
1. Layout and design
- The theme and design must match the information.
- Don't overload your page's infographic.
- Use themed icons.
- Arrange content in the proper order.
- Use headings to set key expectations.
2. Video sequence
- Visual effects should accompany the text.
- Show important numbers on graphs and charts.
- Use the right pictures and icons to represent your data.
- Reduce the number of colors for complex content.
- Increase the contrast between important visual information and the background.
- Use harmonious colors Topics.
- Use disharmonious colors wisely.
- Use regular colors for important objects.
4. Typography
- Choose readable fonts.
- Leave enough white space between the title and the text or image.
- Do not overlay pictures or icons on text.
- Set sufficient spaces between characters.
Now that you know the ins and outs of creating beautiful and compelling infographics, it's up to you!
- 28.52 KbInternational University of Central Asia
on the course of the Concept of modern natural science
On the topic: "Visual perception of the world"
Completed by: Vasilchenko Kristina
Group: VA 110
Checked: Dudnikova N.I.
Tokmok 2012
Introduction
Properties and functions of visual perception
Visual perception of the world
Conclusion
List of sources
Introduction
Visual perception throughout time is of great interest to scientists and researchers in this field. For example, if we compare the number of studies done in relation to tactile perception and visual perception, then the latter is studied many times more often than tactile, this only means that this area has not been fully studied.
Vision is a sensory sense (one of the sensations) that perceives light and color in the form of an image or picture. Visual perception is a multi-level process consisting of three main stages carried out by various organs:
1. successive conversion of light with the help of the optical structures of the eye into a picture projected on the retina, and then into electrical signals. This stage is carried out by the eye.
2. transmission of an electrical signal along the conduction pathways of the nervous system to various parts of the brain associated with visual perception.
3. at the third stage, the analysis of the electrical signal by the brain is carried out with the formation of a visual sensation, awareness of the presence of a particular visual image in the field of view.
Thus, the visual perception of the world is a rather complex process that forms a picture of the world, which can differ significantly from reality.
- The concept of visual perception
The term visualization became common knowledge thanks to Jung, who conducted various studies of the human psyche and consciousness. Even before Jung, this term existed in more ancient and no less famous sciences, the foundations of which were laid by Buddhism and its meditations.
Visual perception is a set of processes of the visual image of the world based on sensory information received with the help of the visual system.
Visual perception begins with highlighting the general structural features of an object. First of all, the relation of objects and space is perceived. Further, relations between objects are mastered, then between the details of objects. And a clear idea of the whole is created. This is the essence of visual perception.
Numerous studies in this field show that visual perception involves multiple sources of information beyond those perceived by the eye when a person looks at an object. The process of perception, as a rule, also includes knowledge about the object, obtained from past experience, not only with the help of vision, but also with the help of other sensations.
- Properties and functions of visual perception
Vision is a distant perception, that is, it does not require direct contact with the perceived objects, because it occurs at a distance. Visual perception is absolutely free, that is, the organ of this perception - the eye, moves freely along the surface of the object. This movement is not limited by the boundaries of the object, as can be seen in tactile perception, where, for example, a hand encounters the boundary of an object. It can be noted that the eye in visual perception is an organ with a high concentration of sensitive elements, receptors. And so less superficially located receptors come into play here.
Vision gives rise to a huge number various processes associated with the reflection of color, spatial, and dynamic characteristics of objects in the visual field.
Visual perception of space is closely related to the processing of spatial information in such sensory systems as musculoskeletal, vestibular, and auditory. It should be noted that on the basis of data on the spatial position of objects, the perception of movement is built. Any activity contains movement in space, and any movement occurs in time. These dimensions are interconnected, and how they are perceived depends on our sensory abilities, and on the points of reference that we establish when evaluating them. We perceive the movement of an object due to the fact that when moving against the background, it causes us to successively excite different cells of the retina.
It is believed that the most complex process of visual perception is the perception of form. Shape refers to the characteristic outlines and relative position of the details of an object. Usually in the field of view at the same time there is a huge number of objects that could form a variety of shapes. And yet, a person can easily recognize objects known to him. No less interesting is that a person does not need special education to perceive an unknown object in an unfamiliar environment as a separate whole, this happens due to the selection of a figure and a background. The figure has the character of a thing (a protruding and relatively stable part of the visible world). The background has the character of an unformed environment; it seems to recede back and continue uninterruptedly behind the figure. The figure, unlike the background, is a stable and constant formation. In most cases, a necessary condition for the perception of a figure is the selection of a contour - the boundaries between surfaces that differ in brightness, color or texture. But sometimes the shape has no outline at all. And, conversely, the presence of a contour does not automatically ensure the selection of a figure. Most often it is perceived as an element of this figure.
- Visual perception of the world
Visualization is a property of the human consciousness, capable of reproducing visible and invisible images of the visual (visual) series in its consciousness. In fact, they are pictures that our consciousness perceives as a visual image, or a feeling of such a visual image. According to the description, it is similar to the images that we can see in a dream, but what is hidden behind the visualization is not directly related to sleep, and to the state of complete mental relaxation. First, the visual images that arise in a person's head can be divided into two categories - images of the visual series and images of the sensation of the visual series. Images of the visual series - pictures, graphic images, symbols that arise in the human mind in the waking state. This is what our brain “sees”, bypassing the known visual receptors. Images of sensation of the visual series are all the same pictures and symbols, plots that arise in our minds as sensations of vision, but the main aspect in the form of a visual image is absent. That is why the concept has the name “sensation of the visual range”, indicating that a person only feels, but does not see the picture-image.
Perception of the surrounding world and the processes taking place in it, due to nested visual habits - images, stereotypes, categories that are understandable and familiar to a person, for example, green leaves, blue sky, etc. - all these are categories of the series that are embedded in a person from birth to the present day. A person with visual perception skills grasps the entire plot, and then, if necessary, systematizes or details it, which gives him the opportunity to operate both information based on the impression of what he saw, and on the basis of understanding what he saw. Positive features - easy assimilation of information related to the field of the humanities. Such people feel great the world feel all the nuances and all its subtleties. A rich picture of the perception of the surrounding world and the ability to receive information and impressions from several sources of information. Negative features - limited perception of one's own visual base, which, although expanding, falters, moving to extremely negative associations or misinterpretations. Often there is a conflict between the sensory and logical components of human perception.
Visualization is a property of human consciousness that can provide another tool for working with reality. This is something with which the world around you can be perceived more voluminously, which means you can see and understand a little more.
Visual perception begins with highlighting the general structural features of an object. First of all, the relation of objects and space is perceived, then the relations between objects are mastered, then between the details of objects, and a clear idea of the whole is created. This feature of visual perception is taken into account in the compositional construction of the work in order to ensure its orderly perception.
Visual perception depends on the emotional impulses that occur in the eye when the gaze glides over the image. Each turn, that is, a change of directions, lines, their intersection is associated with the need to overcome the inertia of movement, they have an exciting effect on the visual apparatus and cause a corresponding reaction. The picture, where there are many intersecting lines and the angles formed by them, causes a feeling of anxiety, and vice versa, where the eye calmly glides along the curves, or the movement has a wavy character, there is a feeling of naturalness, peace. The wave nature is inherent in matter, and it is possible that it is precisely with this that the emergence of a positive reaction of the organism is connected. A positive reaction occurs when the nerve cells of the visual apparatus experience a state of active rest. Some geometric structures and shapes cause a similar state. These include, for example, objects built according to the proportions of the "golden section".
Conclusion
Based on the foregoing, it can be noted that visual perception plays an important role in the life of every person. Thanks to vision, a person is able to know the world around him. In addition, it should be noted that visualization provides the ability to obtain information about the outside world, navigate in space, control one's actions, and perform precise operations. It can also be emphasized that the role of visual perception in the processing of any information is growing most of all in modern conditions of intensive development of multimedia tools. It is known that for more effective memorization of the material, it is necessary to expand the number of visual means of presenting information, tk. it is known that visual analyzers are able to perceive more information per second than auditory ones.
List of sources
- http://www.go2magick.com/modules/mobi_page.php/page75/
- http://www.sunhome.ru/magic/ 12856
- http://nlo-mir.ru/magic/2012- vizualizacija.html
- http://www.idlazur.ru/art79. php
Description of work
Visual perception throughout time causes big interest from researchers in the field. For example, if we compare the number of studies done in relation to tactile perception and visual perception, then the latter is studied many times more often than tactile, this only means that this area has not been fully studied.
