Module 3. Post on Gestalt and Visual Perception

Case 1: The principles of visual perception used in this case are figure & background, in an unusual way, since the background is brought forth to portray the woman in a way viewed from different angles at once. That makes it look like there is only foreground in this picture. But overlapping is used to still have a sense of three dimensions.

The pictures also have similarity since details like the hair and certain body parts suggest that it is the same model. The drawings also have continuity since they mostly exist of one unbroken line.
I can see grouping working here, because the two women in each photo are separated by an amount of negative space.

Case 2: The principles of visual perception that have been used in Figures 86 and 87 include figure and ground, proximity, similarity, leveling and sharpening, and third dimension.

Figure and Ground: The three figures and table create the “figure” and the surrounding white space creates the “background” (the area that assumes an inactive role).
Overlapping is also apparent in both images. Although the table is covering portions of the people (and vice versa), we still are able to understand that there is a table and three figures.

Proximity and Similarity: The principle of proximity states that elements which are close together are associated. In this case, the closeness of the three figures helps imply that they are associated.
The principle of similarity states that elements which look similar tend to be perceived as associated. The three figures in case 2 display enough similarities (round heads, arms, torsos, etc) that allows one to come to the conclusion that they are associated (all people).

Leveling and Sharpening: Leveling is defined by unification, enhancements of symmetry, reduction of structural features, repetition, dropping of non-fitting detail, and elimination of obliqueness.
Figure 86 could be considered an example of leveling by the symmetry, unification, and reduction of structural features (no table legs, etc). Sharpening enhances difference and emphasizes obliqueness.
The effects of sharpening are evident in Figure 87 where the table and figures have taken on a more “exaggerated” perspective. The table no longer appears square and the figures are of varying sizes (perspective distortion).

Third Dimension: Third dimension is apparent in Figure 87 due in part to the shape and front edge of the table and the varying sizes of the figures at the table.

Case 3: With strong upright shapes, the women holding their beaters become foreground. The rest of the objects with horizontal lines are viewed as part of the background.
While the four beater sticks create a rhythm, the similarity and the proximity of the inner two sticks brings your focus to the center. This separates the women into two groups.
The figures on the left are overlapping and create dimension in the art piece. The figure behind the table adds to the dimension.
Closure can be seen with the two figures that are looking at the figure behind the table creating a triangle shape.

Case 4: The horse is seen in the Egyptian view. It is drawn in a frontal view from the shoulder to the hoofs, with the neck and head drawn in profile. Only your mind can tell you this is a complete horse. It is a very flat figure that lacks dimension on a white ground. Western man looks at the horse as foreshortened and as whole. It is only the direction of the hoofs that tell the viewer they are looking at the front of the horse.

Case 4: The principles of visual perception that have been used in Figure 88 include figure and ground.

Figure and Ground: The black region in Figure 88 is the dominate area (figure), whereas the white area in the image is passive and therefore takes on the role of the background.

The image of the horse also displays foreshortening characteristics. The image can be described as a horse, despite its flat/solid appearance.

Extra Credit

“Sky and Water I”: The principles of visual perception that have been used in M.C. Escher’s “Sky and Water I” woodcut include figure and ground, grouping, proximity, similarity, continuity, and surroundings.

Figure and Ground: Figure and ground is most obvious of the principles found in this piece of M.C. Escher’s work. The black (bird) and white (fish) areas work separately as figure and ground. It is easiest to focus on the birds and then to switch one’s focus to the fish. It is difficult to see the evolution of both at the exact same time.

Grouping: Humans look for patterns to simplify the reading of different images. In the case of “Sky and Water I”, two patterns are grouped separately to help make the image easier to understand. One pattern is of the birds and the second pattern is of the fish.

Proximity: The principle of proximity assumes that items which are close together are associated. The birds are within close proximity to each other and the fish are in close proximity to each other as well. The group of birds and the group of fish are also in close proximity to each other. The closeness of the objects helps the viewer separate the animals into two groups, but to also see them as a whole (since the birds turn into fish and fish turn into birds).

Similarity: The birds have certain characteristics as do the fish. Due to the similar characteristics found within the birds (overall shape, wings, beak), the similar characteristics found within the fish (overall shape, fins, tail), it is easy to understand that the birds are related the birds and that the fish are related to the fish.

Continuity: The principle of continuity is based upon the idea that smooth changes are preferred to abrupt changes. M.C. Escher did a fantastic job of creating a smooth change between seeing the image of a bird to seeing the image of a fish.

Surroundings: The surroundings of an image affect the way the “figure” is seen. The principle of smallness (smaller areas are often seen as figures against a large background) is evident in the ease of seeing the small black birds on the large white background and seeing the small white fish on the large black background.

Extra credit:

"Maxima Velocidad de la Madona de Rafael", by Salvador Dali Dali is using grouping in this picture by placing shapes of different colors together and thereby creating the illusion of the woman.

He is also using proximity to create that affect. Similarity is used, as well as shapes that are different from the pattern, like the eyebrows, to draw attention to a certain detail.

Continuity is used with the placement of the circles to create the illusion of three dimensions. Closure is definitely used, and our minds are instinctively filling out the blanks between the shapes to create the image of the woman.

Leveling is used to create order in the mass of shapes, which will make it easier to understand and remember. We will remember the circles as symmetric.

Adding a dimension is used to draw the viewer’s eye and complete the image of the woman, as well as guide our eye to the center.