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126 Cards in this Set
- Front
- Back
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Ways an Image is remembered |
Sensing Selecting Perceiving |
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Things we do naturally (Light Hitting Eyes) |
Sensing |
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Isolate part of scene or image |
Selecting |
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More sense of what your seeing |
Perceiving |
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Ways of Learning |
Visual Auditory (oral) Kinesthetic (Touching) |
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Media |
means of communication to influence people- singular in a medium |
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Reach |
ability to convey a message that can be remembered |
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Singular Message |
Focuses on the message |
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Interactive Multimedia |
Engaging the audience |
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Is the medium more powerful than the message? |
Yes/True |
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What is between the sending and the receiving a message? In the communication process? |
Noise |
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Noise |
other things around you that influence you or message |
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Fragtion |
Vision (20x20) how the light bends to the eye |
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Extraocular Vision |
People that are blind can touch color and tell what it is |
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Peripheral Vision |
how our eyes see from left to right 90 degrees Up and Down 80 degrees |
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Foveal Field |
is where you focus on the lower part of the eye |
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Cornea |
is the outer layer, reduces speed of light, last organ to die |
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Iris |
the color portions the melanin, makes the skin darker |
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Pupil |
the dark opening in center of iris |
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Vitreous Humor |
The white of our eye |
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Retina |
contains rods and cones (receptors) |
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Cones |
deals with color and fine detail |
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Rods |
deals with night vision and black and white |
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Saccades |
its the focus apparatus, controls rods |
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Optic Nerve |
the tube to the brain |
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Cortex |
learning center of the brain |
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Visual cortex |
triggers responds to visual stimuli |
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Hippocampus |
brain's hard drive, where memory and images are stored |
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Left Side of Brain |
logic, control, science, accurate, strategic, realistic |
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Right Side of Brain |
Passion, creative, freedom, art, poetry, vivid |
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Most Important factors in seeing |
sun, electricity, and fire |
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Protons |
are individual's packets of lights |
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Kelvin |
degrees used to measure color and temperature |
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Photon |
smallest measure of light |
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Primary Colors |
Blue, Green, and Red |
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Secondary Colors |
Yellow, black, cyan, and Magenta |
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Hardest color to see? |
Purple |
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Easiest color to see? |
Red |
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What color is the cornea? |
Yellow, blocks ultraviolet light |
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Saturation |
intensity of color |
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Brightness |
Amount of light reflected off |
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Pixel |
picture element |
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Print |
dots per inch (measurement) |
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Raster based images |
are resolution dependent |
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Resolution |
The amount of pixels |
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Vector Based images |
Resolution independent, stays the same |
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Young-Helmholtz Theory/Tri-chromatic Theory |
every color we see can be made into three basic primary colors; red green and blue |
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Additive Color |
when all of these colors are mixed, equal amount of these colors added together produce white light |
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Print Primary Colors |
Magenta, Yellow, Cyan, and Black |
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Subtractive Color |
when paints are mixed together, the color in the paint absorb every color except the wavelength that we see reflected back. As they are mixed they become darker |
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Objective Method |
the assumption that the perception of colors is a result of the various light wavelengths stimulating the cones along the back of the eyes retina. |
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Comparative Method |
Everyone's conception of a color for example red is not always the same as another one, a rough estimate of what a color might look like through comparison |
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Subjective Method |
a person's mental state or association with an object strongly affects the emotional response to a color, people associate color with objects and events |
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Dots |
the simplest form written with stylus, hundreds of them grouped together form a picture |
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pointillism |
technique used by George Seurat in which he peppered his paintings with small dots that combine the viewer's mind to form an image |
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Lines |
dots drawn closely together with no space in between |
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Straight lines |
convey a message of stiffness and rigidity |
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horizontal lines |
high in the frame, and makes layouts heavy |
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vertical lines |
brings viewers eye to a halt |
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diagonal lines |
have a strong effect in a field of view |
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curved lines |
convey playful mood |
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Shapes |
combination of dots and lines into patterns that occur throughout nature and in graphic design |
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Polygon |
a form created by a combination of shapes |
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Parallelograms |
four sided figure with opposite sides that are parallel and equal in lengths |
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Two major types of parallelograms |
Square and rectangle |
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Square |
most dull and conventional shape |
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rectangle |
most common and favored shape for mediated images |
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Circles |
important attention getters, they relate to the eye and the movement |
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Triangles |
most dynamic and active shape, conveys directions, but can create tension in design |
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Two types of triangles |
Equilateral Isosceles |
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Equilateral |
All sides are equal, conveys serene mood |
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Isosceles |
Two equal sides. Draws power from sharp point |
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How many depth cues are there? |
eight; space, size, color, lighting, textual gradients, interposition, time, and perspective |
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Space |
depends on the frame in which an image is located. It depends on how close you are to a subject. Placement of content elements is important in an image |
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Size |
our ability to determine an objects distance. If a viewer is aware of an objects actual size, it helps in the illusion of depth perception. Size is also related to scale and mental attention |
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Color |
warm colors appear closer than cooler colors. High-contrast pictures with great differences between light and dark tones seem closer than objects colored with more neutral tones. |
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Lighting |
the prevalence of shadows also indicates an objects volume and gives the viewer another depth cue. Light brightness and position create shadows |
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3-point lighting |
45 degrees of subject, bounce light from opposite direction, back light acts as depth cue |
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Textual Gradients |
water, ridges appear close together as they move away from viewer's point of view. Sand, shadows in the foreground are larger than the shadows in the craters that are farther away |
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Interposition |
when you put a 3D effect on a picture by putting the title in the back and the person in the front |
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Time |
a viewer's attention to a particular element within the image |
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Perspective |
Equal parts brain function and learned behavior. It depends a lot on the cultural history of the viewer. |
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Illusionary Perspective |
Achieved through size, color, lighting, interposition, and linear perspective |
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Linear Perspective |
Parallel lines seen at a distance |
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Geometrical Perspective |
Common among tradition Japanese and Mayan art work |
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Conceptual Perspective |
Compositional trait reliable on symbols |
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Multiview |
a viewer can see many sides for an object at the same time |
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Social |
The most important person in a group picture is larger is larger in size, centrally located, or separated from less important people |
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Real movement |
motion not connected with an image presented in the media. It is actual movement as seen by a viewer of some other person, animal, or object. It does not involve mediated images. |
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Apparent Movement |
Motion in picture films. Moving images are a series of still images put together sequentially. Persistence of vision allows us to see the pictures in motion |
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Graphic Movement |
the motion of the eyes as they scan a field of view or the way a graphic designer positions elements so that the eyes move throughout a layout. |
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Implied Movement |
A motion that a viewer perceives in still, single image without any actual movement of an object, image, or eye. |
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Stereotypes |
Applying generalization to group of people |
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Culture |
set of beliefs about a common group. |
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Personal |
an initial reaction to the work based on your subjective opinion |
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Historical |
a determination of the importance of the work based on the medium's timeline |
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Technical |
the relationship between light, the method used to produce the work, and the context in which work is shown |
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Ethical |
The moral and ethical responsibilities that the producer, the subject, and the viewer of work have and share. |
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Categorical Imperative |
What is right is right and there is no questions. Once a rule is established it must be kept. |
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Utilitarianism |
Doing greatest good for most amount of people. The greatest happiness principle. |
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Hedonism |
Self-pleasure, intellectual pleasure for one self. |
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Golden Mean |
Diplomatic fine comprise; finding middle ground between two extreme points of views or actions |
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Golden Rule |
Do what to others what you would do for you. Love your neighbor as yourself. |
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Veil of Ignorance |
Respect others regardless of who they are. Consider all people equal as if each member were wearing a veil so that such age, gender, ethnicity, could not be determined |
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Cultural |
an analysis of the metaphors and symbols used in the work that convey meaning within a particular society at a particular time. |
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Critical |
the issue that transcends a particular image and shape a reasoned personal reaction. Getting everything you look at. |
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Pi-Sheng |
a chinese alchemist, invented movable type with characters made from heat-hardened clay and glue in the 11th century |
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oldest known printing book? |
diamond santra |
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Vellum |
highest quality material made from the skins of young or stillborn calves, goats, and sheep's |
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Historical Stages |
Painting, writing, hot type, and cold type |
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Typeface families |
blackletter, roman script, miscellaneous, square serif, and sans serif |
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Type |
the style, arrangement, or typeset matter. The reproduction of words through a mechanical process |
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First alphabet Invented? |
Phoenician |
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Point Size |
Base line to stem |
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Ascender |
happens both in (d) and (b) above the line |
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Descender |
Below base line (p) |
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stem |
ascender |
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x-height |
mean to baseline |
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Hairline |
(y) below baseline at an angle |
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Serif |
the smallest decorative pieces of the ends of each letter |
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Counter |
hole in letter |
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Sans Serif |
NO smallest decorative pieces of the ends of each letter |
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baseline |
the line upon which most of the letters sit |
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Kerning |
Space between letters |
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Leading |
space between lines |
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Rule |
is a line |
