Roxanne Caruana

Design Foundation Studies Yr1

Art and Visual Perception Space

In this chapter, Arnheim writes about the location of things that surround us in space. He emphasizes on the fact that two-dimensional flat images do not exist in the real world. The author writes about three types of line which include the object line, the hatch line and the contour line. The principle of simplicity is the outcome of a simpler figure that is established by the visual organization of the lines. Furthermore, a line surrounding an area produces a visual entity where, the bigger the section, the weaker the outline and vice versa. However, there are some ambiguities with regards to images sharing a common contour. Disconnection of the two surfaces occurs on exposing the objects in a dim space for a very short time. Edgar Rubin further revealed that despite being inactive, the common line between two figures makes them appear dynamic; as the observer decides to which plane the borderline belongs to. Two-dimensionality is characterized by the figure-ground connection, which has been created to determine which of two things is at the front. It is recalled that even in simplest representations, the enclosed object has a larger concentration than the freer ground. When two planes have dissimilar textures and the density of texture is enhanced, the figure-ground condition is either reinforced or inverted. Thus, there is an element of dynamism as relative movement can increase the figure-ground effect. Figure and ground are employed only in simple cases where a uniform pattern is in an identically enclosed uniform, setting. Generally, patterns are issued over numerous intensity levels, the basic figure-ground being composed of only two levels. This conforms to simplification by economy where the sum of these levels in a sample

Roxanne Caruana

Design Foundation Studies Yr1

is as little as the specified conditions consent. Additionally, comparison of brightness frequently unites the whites as against blacks in two detached surfaces. Arnheim illustrates that there are standards which artists utilize in making the perceptual forces establish the intensity of frontally oriented surfaces in a pictorial representation. There is a difference in perceiving objects in the real world, and those captured in an image. Correct spaces between pictorial items necessitate a receptive awareness to attractions and repulsions in the visual area. The concept of figure and ground is also related to picture frames. Early artists began reducing the intensity of pictorial space and resultantly, windows were no longer ground after the border. This made them appear unpersuasive, since the function of the frame is to define the windows characteristics, apart from beautifying it. The same psychology applies for solid volumes, which are perceived visually only when the external between two volumes is translucent or empty. Interferences or damages in a mass are considered as a void amid solids that control the outer plane. Kinesthetic experience causes convexity in figures to be independent, and concavity in contemporary sculpture to seem more appropriate when placed in various buildings. Additionally, subdivision in both two and three-dimensional figures takes place when an organization of autonomous components, present a structurally simpler pattern than the undetached entirety. It helps provide objects with depth perception, given that separation increases simplicity and as Arnheim further claims, a pattern

will appear three-dimensional when it can be seen as the projection of a threedimensional situation that is structurally simpler than the two-dimensional one.
When contours intersect one another, one of the superimposing shape is seen as unfinished owing to the perceptual urge to attempt to complete the shape.

Roxanne Caruana

Design Foundation Studies Yr1

Furthermore, the item with the uninterrupted outline is seen as being in front. Given that the spatial structure of the image is not dependent on other means of perspective, overlapping produces a series of visual entities in the depth dimension. Overlapping also generates transparency if the object at the back can be seen through the object at the front. Furthermore, a see-through facade overlapping the ground or lying on a uniform ground, does not generate transparency. It does so however, when the colour of overlap is similar to the visual arrangement of the other shapes. Brightness in transparency also verifies which of the objects rests at the front. Objects can also appear in three-dimension by leaning away from the frontal surface or by attaining volume or roundness. Deformation alters a shapes spatial structure thus diminishing simplicity and increasing tension in the visual area, thus enhancing simplicity and harmony. Consequently, it is regarded as a crucial feature in perceiving depth where the equivalent projection holds for every range of distances. Arnheim maintains that the mind permits us to perceive three-dimensionality. The principle that organizes the rendering of depth in a plane stipulates that no aspect of

visual structure will be deformed unless space perception requires it- despite of what
mechanically proper projection would require. Convergent perspective covers side facades while divergent perspective exposes them. Due to the light contribution from things in reality, the intensity created looks more persuasive. Binocular vision generates stereoscopy, where the inconsistency between illustrations arises from their distinctions, owing to the small distance between our eyes. Additionally, parallax is eradicated by staring at an object through one eye only. Unification of figures occurs by using both eyes thus improving the perceptual condition of documenting representations of the same entity.

Roxanne Caruana

Design Foundation Studies Yr1

On disregarding isometric perspective to increase depth by modifying the size of an object, we come across the constancy of size and shape, which is the capability to recognize things well even though they might be distorted. It follows that the percept relates to the shape of something actually foreshortened only if this very shape is the most basic figure that makes the projective pattern appear distorted. Sometimes, a representation has more depth than it has physically and this opposes the rule of constancy, but obeys the law of simplicity.