Download Moving the Eye Through 2-D Design: A Visual Primer by Buy Shaver PDF

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By Buy Shaver

An outline of the visible arts basics, relocating the attention via 2-D layout offers a step by step method of realizing what reasons us to examine a portray, photo, or any two-dimensional media and what's had to keep visible curiosity. This quantity introduces a goal-oriented technique that applies features of line, form, price, and colour on to relocating the viewer's eye to and during a composition. With this system, artists learn how to contain feeling into the inventive approach from the outset instead of leaving it as a subjective afterthought. both acceptable to the high-quality arts, utilized arts, and electronic media, relocating the attention via 2-D layout presents an easy and finished method in which artists can create dynamic art. 

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Extra resources for Moving the Eye Through 2-D Design: A Visual Primer

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The repetition increases the noise by increasing the number of black and white areas. The movement flows as the eye connects the similarities. And, the figure and ground relationship is active, because the similarities between the size, number and direction of the black and white shapes have been accentuated. By infusing a composition with movement and noise, you create visual dynamics and feeling. How do you want the viewer to feel about the key? Is the key heavy and sad? Is it moving playfully?

The hammer appears to swing from left to right and then down, and it even appears to create a loud ‘bang’. In reality, any moving object, such as an arm waving, a leaf falling or a ball bouncing, will capture your attention. And, it is the same for two-dimensional design: the illusion of motion will attract the viewer’s eye. But any type of motion within a composition is important because it affects the visual dynamics. So even though flow and integration may not be as eye-catching as the illusion of motion, they are still vital in moving the eye to and through a composition in order to clarify feeling.

Not just a ‘circle’ but a ‘wagon wheel’, attract the eye fastest. Also, the ability to recognize shapes affects the order of what is seen first, second, and so on. The most recognizable element is seen first, followed by the next most identifiable and then the next. Or shapes that are coupled with visual dynamics – the largest most recognizable shape, the fastest moving recognizable shape or the noisiest recognizable shape – are seen first. Recognizable shapes are another tool to control how the eye moves to and through a composition.

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