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Visual Communications > Unit 1 > Flashcards

Unit 1 Flashcards

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1
Q

A + B = C

A

Equation used to label images and define montage theory.

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2
Q

Aldous Huxley

A

Writer and experimental scientist whose credo was “The more you see, the more you know.”

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3
Q

Alfred Hitchcock

A

English film director noted for his suspenseful movies; Hitchcock often used montage to intensify the suspense and horror in his work.

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4
Q

Asymmetrical Balance

A

When elements of different size and shape may be distributed unevenly with a de-centered axis.

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4
Q

Channel

A

A transmission medium or means.

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5
Q

Balance

A

A design principle that provides equilibrium to the placement of elements.

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6
Q

Charles Sanders Peirce

A

American philosopher and developer of the formal theory of semiotics; developed a precise system for describing signs, including the terms symbol, icon, and index

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6
Q

Chiaroscuro

A

The subtle use of gradation to create dramatic value.

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7
Q

Cluster

A

A number of dots or elements that are close in proximity.

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8
Q

Cognitive Theory

A

A theory which states that a viewer actively arrives at a conclusion through a series of many mental processes.

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9
Q

Color Spectrum

A

The seven hues of visible light: red, orange, yellow, green, blue, indigo, and violet. These hues are arranged on the spectrum by wavelength.

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10
Q

Cones

A

The light-sensitive parts of the retina that process color and day vision.

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11
Q

Constructivism

A

A sensory-based theory based on the idea that eye movements capture a visual outline, and then the mind “constructs” understanding.

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12
Q

Contrast

A

A design principle that occurs when two elements are seen for their difference.

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13
Q

Curvilinear

A

A shape that is characterized by curvy lines for boundaries.

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14
Q

Dark

A

The absence of light that provides weight to form.

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15
Q

Depth

A

The third dimension that differentiates form from shape.

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16
Q

Direction

A

The specific movement towards a point or destination.

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17
Q

Dot

A

A complex made of size and shape that anchors itself to any space.

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18
Q

Dynamic

A

Energy with an effective action.

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19
Q

Elements

A

The basic building components that construct one’s visual design; tools to help the designer convey his or her idea.

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19
Q

Electromagnetic Radiation

A

Another name for light; the human eye is only sensitive to a portion of it, known as visible light.

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20
Q

Emphasis

A

The most prominent element or focal area in a design.

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21
Q

Expectation

A

The viewer has preconceived notions sometimes leading to false perceptions.

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22
Figure/Ground
Consists of two layers: form in the foreground, and space in the background; allows the viewer to see perceived depth.
23
Form
A three-dimensional object that can be constructed by two or more shapes.
24
Framing
Edges of a visual design work; invariably lays the foundation of the designer's composition.
25
Frequency
The number of waves passing a certain point per second, measured in hertz.
25
Geometric Form
Form defined by its allegiance to mathematical construction.
26
Gestalt Principles
Principles that were first proposed by German psychologists, and are based on the idea that the whole is greater than the sum of its parts.
27
Gradient
The range between light and dark as it pertains to value.
28
Habituation
The viewer ignores the familiar to protect from overstimulation.
29
Hue
The name of a color.
30
Huxley/Lester Model
Theory based on the work of Aldous Huxley and Paul Lester which stresses the importance of sensing, selecting, and perceiving.
31
Icon
A sign that physically resembles what it signifies.
31
Intellectual Montage
A system of editing that uses the dynamics of colliding images to create a new abstract image or idea not necessarily related to the previous two images.
32
Implied Line
An invisible line created by the shape and/or form's relationship to space.
32
Law of Common Fate
Elements that move in the same direction will tend to be perceived as a group.
33
Index
A sign that can be understood because it is logically linked to or affected by what it stands for.
34
Kuleshov Effect
A film technique named after Russian psychologist Lev Kuleshov, who discovered that viewing a picture followed by another picture induces a thought.
35
Law of Closure
Elements tend to be perceived as a complete whole if they are aligned, even if some information is missing.
36
Law of Continuity
The eye will naturally follow the smoothest path.
37
Law of Proximity
Elements that are close to one another appear to form groups, even if they have different characteristics.
38
Law of Similarity
Elements that share characteristics tend to be perceived as a group.
39
Light
The illumination aspect of form.
40
Line
A dynamic form defined by its length and direction.
41
Line Weight
The thickness of a line.
42
Max Wertheimer
Czech psychologist and one of the founders of gestalt psychology.
43
Memory
Images are interpreted by the viewer's recall of all images ever seen.
44
Optic Nerve
Tissue that connects the retina to the visual cortex in the back of the brain.
44
Noise
In the transmission model of visual communications, anything that interferes with the communication process.
44
Movement
The action of a line.
45
Omniphasism
A relatively new theory which attempts to combine the best thinking from previous theories; means "all in balance", referring to its focus on the use of all abilities of the mind.
46
Organic Form
Form defined by its simulation of natural substance.
47
Pattern
The forming of a consistent arrangement of exact or similar elements.
48
Paul Lester
Photographer and visual communications theorist whose theories stress the value of studying the full gamut of media and media production techniques.
49
Perceptual Communications Model
A visual communications theory which focuses on the viewer's personal interpretation and prior experience.
50
Plane
An area within a two-dimensional surface that extends to a specific direction or position; a particular kind of shape.
51
Principles
Rules used for the application of elements.
52
Projection
The viewer projects meaning based on mental state and personal interpretation.
53
Proportion
The ratio of one size of an element to another.
54
Proximity
The distance between elements in a given space.
55
Rhythm
A visual principle that emulates time by repeating strong and weak elements sequentially in a design.
55
Rectilinear
A shape that is characterized by straight lines.
56
Retina
A thin, transparent tissue at the back of the eye that contains light-sensitive receptors called rods and cones.
57
Rods
The long, thin light-sensitive parts of the retina that process night vision.
58
Salience
The viewer gives notice to that which has meaning to them.
58
Roland Barthes
French literary critic who extended early semiotic theory to mass media and popular culture; considered the founder of contemporary semiotics.
59
Saturation
Another term for the intensity of a color; usually refers to the purity or vividness of a color.
60
Scale
A design principle that refers to the size of an element.
61
Selectivity
The viewer filters out irrelevant details, and only focuses on what is relevant at the time.
62
Semiotics
The study of how signs and symbols make meaning.
63
Sensory Communications Model
A visual communications theory which focuses strictly on the data that enters the brain.
64
Sergei Eisenstein
Russian film director who pioneered the use of montage in film in the 1920s.
65
Shape
A two-dimensional plane with a clear, identifiable boundary.
66
Shape Variation
The diverse range of contours that can be implemented on the boundary of a shape, such as angular, curvy, and straight.
67
Sign
Something that stands for something other than itself.
68
Source
A person who desires to communicate.
69
Soviet Montage
An approach to filmmaking which uses quick film editing and the juxtaposition of unrelated and sometimes conflicting images in rapid succession to impart meaning.
70
Space
The surrounding of form and any other positive elements.
71
Surface
The exterior of form.
72
Symbol
A sign which has no logical connection to what it signifies; the viewer must learn the connection between the sign and its meaning.
73
Symmetrical Balance
When elements of equal size and shape are evenly distributed on both sides of the central axis.
74
Tension
A strained relationship between elements.
75
Texture
Surface activity that repeats at regular intervals using shape, line, or dot elements.
76
Three-Dimensional
Having three coordinates: width, height, and depth.
77
Transmission Model
A model adopted by many communications disciplines that states that a sender transmits a message to a receiver.
78
Two-Dimensional
Having two coordinates: width and height.
79
Unity
A design principle that brings all the elements into a visual oneness.
80
Value
Another term for lightness or darkness.
81
Visual Communication
A process by which an image conveys an idea or message to an audience in order to inform, sell, persuade, educate or entertain. Visual communication relies on both the biology of human vision and the viewer's past experience.
81
Visual Cortex
The part of the brain which processes visual information from the retina, communicated via a network of nerve cells.
81
Volume
The amount of three-dimensional space a form occupies.
81
Wavelength
The measure of the distance from two consecutive wave crests or troughs, commonly measured in nanometers.

Visual Communications (3 decks)

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