1. The artist selects, isolates, and
manipulates elements
for visual coherence.
If all parts are working together,
the whole seems to be more than the
sum of its parts.
This is called the gestalt .

2. What is the cognitive gestalt of seeing?
– Our visual process is influenced by characteristics of the
perceived objects, such as:
• Contrast (of value/dark to light)
• Intensity (color/expressiveness of line, etc.)
• Figure-ground separation (apparent depth/dimension)
• Proximity/Grouping (Clustering)
• Size.
• Motion.
• Repetition (similarity) or novelty (difference).
• Closure

3. Some image-makers convey intent
without using all traditional principles of design.
Some intentionally violate the principles of
harmony to create a sense of discord.
.

4. One way artists help viewers see a design as a unified
whole is to balance it visually.
In addition to position and size, visual weight is
affected by factors such as color, value, and
degree of detail. In general, areas that are light
in value, brightly colored, or highly detailed
draw the viewer’s attention more than areas
that are dark, dull, or less complex; they
therefore carry visual intensity and create
a “focal point.”

5. Sometimes artists intentionally unbalance a
design to create a disorienting effect.
Preferences for symmetry or asymmetry in
art change with the times. Also, much
artistic balancing is done intuitively rather
than intellectually.

6. We respond easily to designs that mirror
the repetitive growth patterns of nature.
Sometimes the understructure of a work of art
is planned to repeat a certain shape
subtly.
Artists do this subconsciously or intuitively,
but to those interested in analyzing a
work of art, these devices become
evident.

7. Paradoxically, a 2nd way of suggesting
unity is to vary elements, as slight
variations repeating a central theme
or strong contrasts- a very rough-
textured area contrasted with a very
smooth-textured area, a very dark area
contrasted with a very light area, convex
shapes fitted into concave.
Opposites seem to complete each other.

8. Repetition of similar or varying
elements in a design tends to set up
a visual rhythm.

9. Planes of the Frame
• Foreground
• Midground
• Background

10. Focal point: area where the viewer’s
eye is compellingly drawn.
Techniques for drawing attention:
~ Placing a figure near the center
~ Placing a figure off by itself
~ Creating contrast around the figure

11. Composition
• Isolated figures have
more dominance than
those in clusters.
• Asymmetrical
composition tends to be
more intriguing.
• Diagonals suggest
movement and action
• Perpendicular lines
suggest stasis, control

13. A final principle to consider in
organizing a shot is economy:
eliminating elements that might distract
attention from the essence of what the
director needs to communicate.
VS.

15. Mood…
Black & White and monochromatic
colors can lend a dreamy,
thoughtful or reflective state.
Transparent layering also romance or
dreamlike contemplation.

16. Suggesting Movement…
• Movement in the 2D plane is implied by eye path
• Activity attracts and holds attention.

17. Rule of Thirds
• a principle of
composition
suggesting that the
picture frame should
be visually divided into
thirds rather than
halves. (The frame is
divided into 9 squares
—where lines
intersect, the image
has precedence.)

18. Mise en Scene
total arrangement of sets, objects, and people in a shot
or scene, including props, costumes, actors
The frame: borders of the “canvas” (like the frame of a
painting).
Framing: composing the objects and people within the
image
The subject: the person or object most distinctly
framed in a shot

19. Formalism vs. Realism
• Open Form: window on the
world; random composition in
the frame; candid effect;
suggests freedom of choice in
the filmic world
• Closed Form: planned and
elaborate composition;
formalistic and expressive;
suggests entrapment in the
filmic world

20. Composition
• Top-heavy
composition: makes
us uneasy
• Bottom-heavy
composition: is more
expected and
commonplace

21. Framing the Subject
• Headroom: space between
the top of a subject’s head
and the upper edge of the
camera frame
• Noseroom or look space:
Space between the subject
and the side of the camera
frame toward which she is
looking
• Leadroom: Space between
the subject and the side of
the camera frame toward
which she is moving

22. Proxemic Patterns
• Intimate
• Personal
• Social
• Public

23. Good art direction pays attention to:
lighting, color, texture, pattern,
juxtaposition, and movement.

24. Other Elements of
Effective Design
• focal point – Where is the eye drawn? Where is the visual emphasis
placed?
• negative space – Is there a “breath” of inaction for the eye that
punctuates or compliments the positive space?
• sophistication- Is the design contemporary, trendy, elegant, polished,
classic?
• visual intrigue – Does it surprise? Do we see something we haven’t seen
before?
• entertainment – Do the images tell a story? Does the composition portray
energy and drama?
• suspense – Does the image hook the audience with what it conceals and
promises to reveal?
• theme – Does it draw on metaphors, myths, and analogies to the familiar?

25. More Design Basics
6 Rules of Focal Emphasis:
•Objects in the upper left quadrant of a frame
have focal prominence.
•Large objects get noticed.
•Bright objects are more visible than dark on screen.
•Bright colors are more predominant than dull ones.
•White space next to the focal draws
the eye to the object.
•Unusual shapes, camera angles, and
diagonal lines get noticed.

26. Contrast
Contrasting
values
provide
definition,
tension, and
dynamism.

27. Color Impact & Mood
• Red: Action, aggression,
danger
• Yellow: Demands attention; high readability
• Green: Symbol of health & prosperity
• Blue: Tranquility, stability
• Black: Sophistication
• Orange: Evokes “edibility”
• Purple: Risk-taking