gestalt theories and design 2 (1)

8/9/2019 Gestalt Theories and Design 2 (1)

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Gestalt theories and design

Baraa Ismail 012773

Design and psychology

1 abstract

howprinciples,itsdefinition,itstheory,This report discuss gestalt

principlesheTapplied.and gestalt theoryto use it in design

texts andprocessingthat readers indifficultiesexplain many

andorganizationslaws of perceptualgestaltare thewhat,graphics

affective.they explain why well designed pages and graphics are



introductions2

When your first impression of a design is positive, when youinstinctively see the design as being good, it’s likely because one or

more Gestalt principles of perception are at play. When you look at a

y because thoseparts, it’s likelitsdesign and admire one or two of

.parts are adhering to one or more Gestalt principles

One of the best things you can do as a designer is to learn these

principles and understand what they tell us about how people.ectsperceive visual objects and the arrangements of visual obj

theory?is gestalthatW

When human beings look at a painting or a web page or any complex

combination of elements, we see the whole before we see the

individual parts that make up that whole. This idea of seeing the

ore thanwhole before the parts and even more the whole becoming m

.the sum of its parts is Gestalt

The German word gestalt can be translated as “shape” or “form” and

the term refers to how visual input is perceived by human

and hasWertheimer Maxy b foundedwaschology psyGestalt beings.

.authorsother been added to over the years by

Wertheimer’s original observation was that we perceive motion

when there is nothing more than a rapid sequence of individual

sensory events such as a series of lights flashing in sequence. Imagine

ristmas lights. Each light turns on and off in sequencea string of Ch

along the string. We see the movement of light from one end of the

.string to the other, when in reality nothing has moved

http://psy.ed.asu.edu/~classics/Wertheimer/Forms/forms.htm


http://www.leonardo.info/isast/articles/behrens.html





http://sharp.bu.edu/~slehar/references/gestalt-refs.html




http://webspace.ship.edu/cgboer/gestalt.html





Mr. Koffka didn’t like that translation, and pointed out that in his

statement, he means the whole exists independently from the

component parts

methodologies3

1.3 gestalt principles

(elementther figureare perceived as eiElements:groundigure /F-

sites)on which the figure(backgroundor groundof focus

dto be more relateperceivedthings that are similar are:Similarity-

dissimilarthan things that are

elements arranged on a line or curve):continuity(continuation-

to be more related than elements not on the line orperceivedare

curve.

individualofarrangementlooking at a complexhen: wclosure-

pattern.we tend to look for single recognizableelements,

ceived tothat are close to one another are per: ThingsProximity-

be more related than things that are spaced farther apart

):Common Fate (Synchrony-

Elements moving in the same direction are perceived as being

more related than elements that are stationary or that move in

ge at the same time groupdifferent directions. Elements that chan

together



The idea that when we perceive objects we tend to:Symmetry-

perceive them as symmetrical shapes that form around their center

Elements that are parallel to each other appear more:Parallelism-

related than elements not parallel to each other

Elements tend to be grouped together if in the:ExperiencePast-

past experience of the observer they were often grouped together.

point of interest, emphasis, or differencea:PointLaw of Focal-

will capture and hold the viewer’s attention

.

Figure / ground

Area ( figure / ground ) Similarities

Through repetition of color, size,

orientation, texture, font, shape,

etc. we can design elements so

they appear more relatedContinuation (continuity)

Closure

PROXIMITY



.

design?to use gestalt theory inHow2.3

gestalt theory describes how the mind organizes visualAt its simplest,

larity of form, the more effective the design.The stronger the c.data

:How to use its principlesoS

, theespecially important for incorporating typr into visualit's:ground /igureF

visual or the type will be hardfrom the otherseparatedtype must be sufficiently

to read .

eTuftEdwardproblems with figure ground segregation are illustrated byeveralS

in his chapter data link and graphical redesign his illustration shows what happen

to be placed on it .pe that isyvy for the twhen the grid on the paper is too hea

:Proximity

several visuals on a page and the headingthere arewhenaccruesproblemA

.close to several of visualsambiguouslyassociated with one visual

Symmetry

Parallelism Focal point



:Symmetry

ofto the perception of balance in the size , shape and relative positionsRefers

diving lineof parts of opposite side

Types of Symmetry

There are three types of symmetry: reflection (bilateral), rotational (radial), and

translational symmetry. Each can be used in design to create strong points of

interest and visual stability.

Use Symmetry Strategically

atStrategic use of symmetry (and the lack of it) is a powerful design tool. Designs th

need more stability, a strong organizational structure, and a classic and trusting

message, tend to use more symmetry in the design.

loving designs, providing asymmetry can reinforce the message. You can use-For risk

.orderly, boring designasymmetry to punctuate an otherwise

imilaritiesS

In both the old and new Reuters logo similar color and dot sizes are used todots never touch. In the old logomake the logos cohesive even though the

” are easily legible because the dotsReutersthe various letters of the word “share a similar size and color. The current logo adds a more dynamic feel by

by the use ofusing slightly varying dot sizes while still being linked together.the orange color

.

Reflection symmetryRational symmetryTranslational symmetry



Closure:

The Law of Closure is all about “drawing conclusions” and filling in missing pieces.

o the audience thisThat is why designers want to leave the drawing conclusions part t

makes content presentation more interesting and engaging. Overall effectiveness of

.sClosure depends on the amount of visual clues given to user

:

ontinuityC

There is a tendency to perceive a line continuing its established direction. This

principle is considered to be one of the most important among other five, because itastest application in design. This principle is applied not only in web designhas the v

but also in interior design, design of clothes, landscape gardening design,

architecture etc. In architecture Continuity Law can be traced easily in all styles

oancient Greek and up to the Postmodern and Art Decstarting from the

may suggest the person who is looking at it,dPatterns with Continuity law applie

that the pattern “continues” even after the end of the physical pattern itself, i.e. our

lines between various elements of the design if therebrain can trace the connecting

function enables us to see some elements slightly different from-are none. This brain

what they are in reality, this is our “personal Photoshop” that fills in the picture with

to see picture in the whole but not separate parts.some elements, allowing us

Gestalt psychology tries to understand how people perceive the pattern instead of

.many separate parts

The IBM logo is created of

horizontal lines though we

perceive it as a complete

image, but not as a set of

diverse lines

No need to draw

additional lines in the

WWF Logo to see the

whole image of panda:

On both logos, shapes are placed near one another, but, as you can see, none of the shapes actually touch,

this causes us to think a bow-tie or a peacock is present (someone can see some other image, because image

perception depends on the perception of an individual)

The edge of any shape continues

into the space and meets up with

other shapes or the edges of

other plane.

This principle of organization

presumes that there is a

tendency to perceive a line as a

continuation of its established

direction

.When two lines of objects

intersect, the continuation of

each line is apparent.



applied :theories3.3 gestalt

therapy:Gestalt)!

is an existential/experiential form of psychotherapy that emphasizes personal

responsibility, and that focuses upon the individual's experience in the present

ironmental and social contextsclient relationship, the env-moment, the therapist

regulating adjustments people make as a result of-of a person's life, and the self

.their overall situation

.strategiestheoretical-Field

“The field” can be considered in two ways. There are ontological dimensions and

re are phenomenological dimensions to one’s field. The phenomenologicalthe

dimensions are all those physical and environmental contexts in which we liveand move. They might be the office in which one works, the house in which one

of which one is a citizen, and so forth. The ontologicallives, the city and country

field is the objective reality that supports our physical existence. The ontological

dimensions are all mental and physical dynamics that contribute to a person’s

not merely elements of the—riencesense of self, one’s subjective expe

environmental context. These might be the memory of an uncle’s inappropriate

affection, one’s color blindness, one’s sense of the social matrix in operation at

alt therapiststhe office in which one works, and so forth. The way that Gest

choose to work with field dynamics makes what they do strategic.[18] Gestalt

therapy focuses upon character structure; according to Gestalt theory, the

character structure is dynamic rather than fixed in nature. To become aware ofacter structure, the focus is upon the phenomenological dimensions inone's char

the context of the ontological dimensions

design:Interior2)

Continuity / similarity

Similarity / a proximity

Ground / figure ground



4) graphic design

Continuity

Closure

ClosureContinuity / focal point

Figure / ground / similarity /

arallelism



Conclusion:

-student a vocabulary forcanpsychologyof gestaltprinciplesKnowing the-of their designs and any other designdimensionsvisualtheanalyzing

-

-brain groupshumangestalt theory focuses on cognitive perception : how-

sdistinct shape

-

-characterindividualconcerns as therhetoricalgestalt theory is not about-

on . that is gestal, and soof a speaker or audience , human emotions

characteristicssome of the most importantaddressdoes nott psychology

for believe and for feeling emotionscapacitiesthat make us human ; our

:References

design and graphicsteachinggestalt theory forsingU-

ArkansasPatrice Moore /the university of

http://www.public.asu.edu/~kheenan/courses/372/sp03/gestalttheory%2

0teaching.pdf

-research-ew/39do/overvi-we-http://gestaltrevision.be/en/what

organization-ground-figure-level/60-areas/mid

the designers guide to Gestalt theory-

-gestalt-guide-s-design/designer-http://www.creativebloq.com/graphic

10134960-theory

http://www.public.asu.edu/~kheenan/courses/372/sp03/gestalttheory%20teaching.pdf


http://gestaltrevision.be/en/what-we-do/overview/39-research-areas/mid-level/60-figure-ground-organization


















http://www.creativebloq.com/graphic-design/designer-s-guide-gestalt-theory-10134960





















Gestalt Principles Applied in Design-

design-in-applied-principles-http://sixrevisions.com/web_design/gestalt

Symmetry in Design: Concepts, Tips and Examples-

design-http://sixrevisions.com/web_design/symmetry

Gestalt Principle: The Law of Similarity & Anomaly

-of -law-the-principles-design-http://jeremybolton.com/2009/10/gestalt

anomaly-similarity/

How Close…Gestalt Law of Closure [Die Gestalt im Design]-

-law-closure-r.com/2012/05/23/gestalthttp://blog.templatemonste

templates/-templatemonster

-

http://sixrevisions.com/web_design/gestalt-principles-applied-in-design









http://sixrevisions.com/web_design/symmetry-design



http://jeremybolton.com/2009/10/gestalt-design-principles-the-law-of-similarity-anomaly/
















http://blog.templatemonster.com/2012/05/23/gestalt-closure-law-templatemonster-templates/


















gestalt theories and design 2 (1)

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