Detalles MARC
| 000 -LEADER |
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| fixed length control field |
25410nam a2200385Ia 4500 |
| 003 - CONTROL NUMBER IDENTIFIER |
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| control field |
pucpr |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
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| control field |
20260821161447.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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| fixed length control field |
150521s1992 iaua b 001 0 eng |
| 010 ## - LIBRARY OF CONGRESS CONTROL NUMBER |
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| LC control number |
90081593 |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
9780697006514 |
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| International Standard Book Number |
0697006514 |
| 040 ## - CATALOGING SOURCE |
|---|
| Original cataloging agency |
pucpr |
| Language of cataloging |
eng |
| Transcribing agency |
pucpr |
| Modifying agency |
pucpr |
| Description conventions |
rda |
| 041 0# - LANGUAGE CODE |
|---|
| Language code of text/sound track or separate title |
eng |
| 049 ## - LOCAL HOLDINGS |
|---|
| Holding library |
CARIBET |
| 050 00 - LIBRARY OF CONGRESS CALL NUMBER |
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| Classification number |
N7430.5 |
| Item number |
W35 1992 |
| 082 00 - DEWEY DECIMAL CLASSIFICATION NUMBER |
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| Classification number |
701.20 |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
|---|
| Personal name |
Wallschlaeger, Charles. |
| 9 (RLIN) |
289222 |
| 245 10 - TITLE STATEMENT |
|---|
| Title |
Basic Visual Concepts and Principles : |
| Remainder of title |
for artists, architects, and designers. / |
| Medium |
txt |
| 264 ## - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE |
|---|
| Place of production, publication, distribution, manufacture |
United States : |
| Name of producer, publisher, distributor, manufacturer |
Mc Graw Hill, |
| Date of production, publication, distribution, manufacture, or copyright notice |
1992. |
| 300 ## - PHYSICAL DESCRIPTION |
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| Extent |
xv, 527 p. |
| Other physical details |
ill. ; |
| Dimensions |
28 cm. |
| Type of unit |
book |
| 336 ## - CONTENT TYPE |
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| Source |
rdacontent |
| Content type term |
text |
| Content type code |
txt |
| 337 ## - MEDIA TYPE |
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| Source |
rdamedia |
| Media type term |
unmediaded |
| Media type code |
n |
| 338 ## - CARRIER TYPE |
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| Source |
rdacarrier |
| Carrier type term |
volume |
| Carrier type code |
nc |
| 500 ## - GENERAL NOTE |
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| General note |
Includes index. |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
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| Bibliography, etc. note |
Includes bibliographical references. |
| 505 ## - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
About the Authors viii --<br/>Preface ix --<br/>Acknowledgments x --<br/>To the Instructor: Developing a Structure and Terminology for Basic Visual Studies xi --<br/>Chapter 1 Historical Influences on Visual Education 1 --<br/>Introduction 2 --<br/>Historical Influences 2 --<br/>Art, Architecture, and Design Education 3 --<br/>Contemporary Trends in Design and Architecture Education 5 --<br/>References and Resources 6 --<br/>Chapter 2 The Problem Solving Process and Form Generation Model 7 --<br/>The Problem-Solving Process 8 --<br/>The Form Generation Process 9 --<br/>Form Generation and Visual Ordering 9 --<br/>Evolution of the Problem-Solving Process / Form Generation Model 10 --<br/>Using and Interpreting the Problem-Solving Process / Form Generation Model 10 --<br/>Intent of the Model 10 --<br/>Model Structure 11 --<br/>Model Subject Matter 11 --<br/>References and Resources 12 --<br/>Chapter 3 -- Drawing as a Means of Communicating 13 --<br/>Chapter Vocabulary 15 --<br/>Introduction to Drawing 15 --<br/>Intent of Drawing 15 --<br/>Types of Drawing 16 --<br/>Introduction to Drawing Exercises 17 --<br/>Beginning to Draw 17 --<br/>Hand Positions 17 --<br/>Pencils, Positions, and Graphic Techniques 17 --<br/>Practice Exercise 3.1 Learning to Use Pencils 18 --<br/>Pens, Positions, and Graphic Techniques 18 --<br/>Practice Exercise 3.2 Learning to Use Pens 18 --<br/>Markers, Positions, and Graphic Techniques 21 --<br/>Practice Exercise 3.3 Learning to Use Markers 21 --<br/>Drafting Tools, Technical Pens, and Materials 22 --<br/>Practice Exercise 3.4 Line and Point Graphic Techniques 22 --<br/>Practice Exercise 3.5 Inking 23 --<br/>Practice Exercise 3.6 Using Graphic Tape 23 --<br/>Practice Exercise 3.7 Using Self-Adhesive Film 24 --<br/>Practice Exercise 3.8 Using Designer’s Gouache 24 --<br/>Practice Exercise 3.9 Using Colored Paper 25 --<br/>Beginning Approaches to Drawing 26 --<br/>What Are the Characteristics of a Good or Interesting Drawing? 26 --<br/>How Does One Begin? 26 --<br/>Visually Representing an Object 26 --<br/>Four Ways of Constructing and Visually Representing an Object 27 --<br/>Practice Exercise 3.10 Four Basic Drawing Constructions 29 --<br/>Practice Exercise 3.11 Construction and Application of Surface Techniques 30 --<br/>Sketching 31 --<br/>Practice Exercise 3.12 Quick Sketching 31 --<br/>Practice Exercise 3.13 Self-Portraits Through Quick Sketching 31 --<br/>Practice Exercise 3.14 A Graphic Study of the Human Head 34 --<br/>Drawing a Visual Set of Objects 37 --<br/>Practice Exercise 3.15 Drawing Visual Sets 37 --<br/>Practice Exercise 3.16 Representing an Object with Minimum Line 37 --<br/>Introduction to Perceiving, Analyzing, Describing, and Drawing Natural Objects 38 --<br/>Practice Exercise 3.17 Writing a Visual Description to Assist in Drawing an Object 38 --<br/>Practice Exercise 3.18 Creating Visual Variations of an Object 39 --<br/>Practice Exercise 3.19 Interpretive Variations of a Natural Object 40 --<br/>Practice Exercise 3.20 Creating a Visual Story About an Object 44 --<br/>Practice Exercise 3.21 Visual Interpretations of an Object 44 --<br/>Practice Exercise 3.22 Abstracting an Object 45 --<br/>Denoting Surface Characteristics of Objects 46 --<br/>Tone and Texture in Drawing 46 --<br/>Practice Exercise 3.23 Learning to Utilize Tone and Texture 47 --<br/>Using Drawing Techniques to Create Representative Surface Characteristics of Objects 48 --<br/>Practice Exercise 3.24 Creating Analytical Drawings 48 --<br/>Practice Exercise 3.25 Creating Random Drawings 51 --<br/>Practice Exercise 3.26 Fantasy Drawing with a Typographic Form 53 --<br/>References and Resources 54 --<br/>Chapter 4 Formal Drawing Systems 55 --<br/>Chapter Vocabulary 57 --<br/>Introduction to Formal Drawing 57 --<br/>Approaches to Pictorial Drawing and Sketching 57 --<br/>Orthographic Projection 60 --<br/>Practice Exercise 4.1 Creating a Three Dimensional Form Using an Orthogonal Grid 60 --<br/>Axonometric Projections 62 --<br/>Trimetric Projection 62 --<br/>Isometric Projection 62 --<br/>Dimetric Projection 63 --<br/>Trimetric Projection 63 --<br/>Oblique Projections 64 --<br/>Triloblique 64 --<br/>Elevation and Plan Obliques 65 --<br/>Perspective 66 --<br/>Components of the Perspective Drawing 66 --<br/>One-Point Perspective 68 --<br/>Two- and Three-Point Perspective 69 --<br/>Constructing a Two-Point Perspective 70 --<br/>Orientation of an Object in Perspective 71 --<br/>Computer-Aided Perspective Drawing 72 --<br/>Practice Exercise 4.2 Determining and Drawing an Object’s Position and Orientation in Perspective 72 --<br/>Communicating Through Sketching 75 --<br/>Drawings for Presentation 75 --<br/>Object Orientation 75 --<br/>Practice Exercise 4.3 Exploring Object Orientation 75 --<br/>Object Analysis Through Sketching 76 --<br/>Practice Exercise 4.4 Analyze an Object Through Sketching 76 --<br/>References and Resources 77 --<br/>Chapter 5 The Visual Elements of Form: Point, Line, Plane, and Shape 79 --<br/>Chapter Vocabulary 81 --<br/>Introduction to the Visual Elements of Form 82 --<br/>Theoretical Model of Form Generation 82 --<br/>Introduction to Point 84 --<br/>Point as a Visible Mark or Representational Element 85 --<br/>Point Creating Line and Direction 85 --<br/>Point Creating Volume and Shape 86 --<br/>Point Describing and Dividing Space 87 --<br/>Point Creating a Visual Plan 87 --<br/>Point Creating Shape 88 --<br/>Point Creating Movement and Energy 89 --<br/>Point Creating Pattern 89 --<br/>Point Creating the Illusion of Depth 90 --<br/>Point Creating Tone and Visual Texture 90 --<br/>Practice Exercise 5.1 -- Using Point to Create Tone 91 --<br/>Practice Exercise 5.2 -- Point Creating Tone and Dimension 91 --<br/>Point Implied in the Environment 93 --<br/>Introduction to Line 93 --<br/>Characteristics of Visible Line 95 --<br/>Practice Exercise 5.3 Line Compositions 96 --<br/>Line Dividing Space 96 --<br/>Line and Direction 97 --<br/>Line Describing Shape 97 --<br/>Practice Exercise 5.4 Using Line to Describe Shape 98 --<br/>Practice Exercise 5.5 Using Continuous Line or Contour Line to Describe Shape 98 --<br/>Line Representing Surface Characteristics 99 --<br/>Line Forming Pattern 99 --<br/>Line as a Notation System 100 --<br/>Lines Formed by Script and Typographic Letterforms 100 --<br/>Line as a Visual Means of Expression 101 --<br/>Line Creating the Illusion of Dimension, Depth, and Movement 101 --<br/>Line Creating Tone 102 --<br/>Line Implied in the Natural Environment 103 --<br/>Line Implied in Man-made Products, Forms, and Environments 103 --<br/>Introduction to Plane 104 --<br/>Plane and Shape 105 --<br/>Plane and Tone 106 --<br/>Practice Exercise 5.6 -- Using Point, Line, and Plane to Create Tone 106 --<br/>Practice Exercise 5.7 -- Designing a Holiday Shopping Bag 108 --<br/>Polygons 110 --<br/>Naming Polygons 111 --<br/>Regular and Irregular Polygons 112 --<br/>Constructing Regular Polygons 112 --<br/>Subdividing Regular Polygons 113 --<br/>Polygons, Shapes, and Symmetry 114 --<br/>Subdividing Regular Polygons into Smaller, Similar Shapes 115 --<br/>Tessellations: Grouping Polygons 116 --<br/>Practice Exercise 5.8 Creating Tessellation Combinations 117 --<br/>Practice Exercise 5.9 Designing a Woven Puzzle Based on a Tessellation 118 --<br/>Practice Exercise 5.10 Designing an Interlocking Puzzle Using Polygons 119 --<br/>Practice Exercise 5.11 Creating Tessellations Using Transitional Tiling Patterns 120 --<br/>Surface Characteristics of Planes 121 --<br/>Dividing Images and Objects into Achromatic Planes 122 --<br/>Practice Exercise 5.12 Dividing an Image into Value Planes 122 --<br/>Transforming Shapes 124 --<br/>Shape Generation Using the Transformation Process 125 --<br/>Practice Exercise 5.13 Creating Shapes Using the Transformation Process 125 --<br/>Practice Exercise 5.14 Shape Transformation 126 --<br/>Practice Exercise 5.15 Plane to Shape Transformation 127 --<br/>Two Dimensional Planes Transformed into Different Configurations 130 --<br/>Practice Exercise 5.16 Identifying Planar Forms in the Environment 131 --<br/>Practice Exercise 5.17 Development of Free-standing Planar Configurations 131 --<br/>Planes Defining Architectural Structures and Their Interior Subdivisions 132 --<br/>Planar Configurations for Structural Support 133 --<br/>Planes and Depth 134 --<br/>Practice Exercise 5.18 Planes and the Illusion of Depth 135 --<br/>Planes, Depth, and Movement 135 --<br/>References and Resources 136 --<br/>Chapter 6 Volume and Structure 137 --<br/>Chapter Vocabulary 139 --<br/>Introduction to Volume and Structure 140 --<br/>Representing Volume 140 --<br/>Volume in the Environment 141 --<br/>Volumetric Forms 142 --<br/>Representing Volume on a Two Dimensional Format 142 --<br/>Volume and Shape 143 --<br/>Practice Exercise 6.1 Volume and Visual Associations 143 --<br/>Relationships Between Two and Three Dimensional Shapes / Forms 144 --<br/>Polyhedra 146 --<br/>Prisms and Antiprisms 148 --<br/>Practice Exercise 6.2 Folded Models of Regular Prisms, Semiregular Prisms, and Antiprisms 149 --<br/>Practice Exercise 6.3 Designing a Paper Sandal 150 --<br/>Practice Exercise 6.4 Designing an Eating Utensil Made of Paper 152 --<br/>Practice Exercise 6.5 Using Wire as a Representative of Line to Explore Volumetric Forms 153 --<br/>Linear Configurations and Their Structural Strength 154 --<br/>Practice Exercise 6.6 Linear Bridge Configurations and Their Structural Attributes 154 --<br/>Practice Exercise 6.7 Columns and Their Structural Attributes 155 --<br/>Using Linear Configurations to Produce Volumetric Forms 156 --<br/>Practice Exercise 6.8 Designing and Constructing a Double Layer Linear Space Frame 157 --<br/>Practice Exercise 6.9 Stabilizing a Linear Prismatic Frame with Cable and Turnbuckles 158 --<br/>Practice Exercise 6.10 Linear Tension Support Structures 159 --<br/>Practice Exercise 6.11 Designing and Constructing a Linear Tent Structure 160 --<br/>Volumetric Transformations Using Planes 161 --<br/>Practice Exercise 6.12 Creating Form Transformations Using Serial Planes 161 --<br/>Practice Exercise 6.13 Five Step Volumetric Transformation 166 --<br/>Practice Exercise 6.14 Three Dimensional Form Metamorphosis 167 --<br/>Practice Exercise 6.15 Using Polygons to Form a Slotted Volumetric Structure 168 --<br/>Folded Paper Structures 169 --<br/>Practice Exercise 6.16 Studying Regular and Semiregular Tessellation Patterns in Folded Structures 169 --<br/>Practice Exercise 6.17 Hollow Paper Cylindrical Columns 170 --<br/>Practice Exercise 6.18 Constructing an Information Column Using Polyhedra and Pattern Transformation 171 --<br/>Plane to Volume 172 --<br/>Practice Exercise 6.19 Polygon Planar and Dome Configuration 172 --<br/>Practice Exercise 6.20 Modular Play Structure 173 --<br/>Practice Exercise 6.21 Designing a Minimal Enclosure Environment 174 --<br/>Practice Exercise 6.22 Designing a Minimal Seating Structure from Corrugated Board 176 --<br/>Practice Exercise 6.23 Designing a Head Protector 180 --<br/>Practice Exercise 6.24 Designing a Folded or Pop Up Volume 182 --<br/>Practice Exercise 6.25 Designing a Three Dimensional Promotional Package 183 --<br/>Practice Exercise 6.26 Close Packing Forms 185 --<br/>Practice Exercise 6.27 Designing a Protective Package for a Flood Lamp Bulb 186 --<br/>Practice Exercise 6.28 Designing and Constructing a Corrugated Cardboard Bridge Structure 188 --<br/>Practice Exercise 6.29 Designing and Constructing a Sleeping Support Structure 190 --<br/>References and Resources 192 --<br/>Chapter 7 The Visual and Physical Attributes of Form 193 --<br/>Chapter Vocabulary 195 --<br/>What Are the Visual and Physical Attributes of Form? 195 --<br/>Introduction to Tone or Value 195 --<br/>Practice Exercise 7.1 Using Tone in Drawing 197 --<br/>Practice Exercise 7.2 Programmed Tone Study Using a Grid Structure 198 --<br/>Practice Exercise 7.3 Using a Grid Structure to Distort a Programmed Tone Drawing 200 --<br/>Introduction to Texture 202 --<br/>Types of Texture 202 --<br/>Observing Texture Close Up or at a Distance 202 --<br/>Texture in the Environment 204 --<br/>Practice Exercise 7.4 Observing Texture in the Environment 204 --<br/>Representing Texture Through Drawing 205 --<br/>Practice Exercise 7.5 Representing Texture Through Drawing 205 --<br/>Practice Exercise 7.6 Creating Tactile Textures 205 --<br/>Practice Exercise 7.7 Transferring Surface Textures from an Object Through Rubbings 206 --<br/>Practice Exercise 7.8 Identifying Objects by Their Surface Texture 207 --<br/>Practice Exercise 7.9 Drawing Surface Textures Using Tone 208 --<br/>Practice Exercise 7.10 Exploring Surface Textures on Three Dimensional Forms 210 --<br/>Introduction to Size, Scale, Dimension, and Proportion as Attributes of Form 212 --<br/>Size 212 --<br/>Practice Exercise 7.11 Size Contrast 214 --<br/>Size 215 --<br/>Scale 215 --<br/>Dimension 217 --<br/>Proportion 220 --<br/>Proportion in Art or Utilitarian Objects 221 --<br/>Proportion in Architecture 222 --<br/>Proportion in Roman Letterforms 224 --<br/>Proportion in Paper and Print 226 --<br/>Practice Exercise 7.12 Altering the Proportions of an Object 228 --<br/>Human Proportion 230 --<br/>The Modulor by Le Corbusier 232 --<br/>Anthropometrics 234 --<br/>Human Dimensions 234 --<br/>Practice Exercise 7.13 Understanding Anthropometrics 235 --<br/>References and Resources 236 --<br/>Chapter 8 Color 237 --<br/>Chapter Vocabulary 239 --<br/>Introduction to Color 239 --<br/>Light and Color 240 --<br/>The Color Spectrum 240 --<br/>Light Sources and Color 241 --<br/>The Dimensions of Color 242 --<br/>Historical Concepts of Seeing Light and Color 244 --<br/>Color Notation Systems and Theories 245 --<br/>Moses Harris 246 --<br/>Johann Wolfgang von Goethe 247 --<br/>Philip Otto Runge 247 --<br/>Michel-Eugene Chevreul 248 --<br/>James Clerk Maxwell 248 --<br/>Wilhelm von Bezold 248 --<br/>Ewald Hering 249 --<br/>Ogden Rood 249 --<br/>A. Höfler 249 --<br/>Albert H. Munsell 250 --<br/>Wilhelm Ostwald 250 --<br/>Michael Jacobs 250 --<br/>Paul Klee 251 --<br/>C.I.E. Chromaticity Chart 251 --<br/>Faber Birren 251 --<br/>Johannes Itten 252 --<br/>The Munsell Color Sphere 252 --<br/>Practice Exercise 8.1 Munsell Student Color Chart Study 254 --<br/>The Ostwald System of Color Notation 254 --<br/>Achromatic Colors 255 --<br/>Chromatic Colors 255 --<br/>Color Pigments and Products 258 --<br/>Winsor & Newton Designers’ Gouache 258 --<br/>The PANTONE Library of Color 258 --<br/>Color Mixing 260 --<br/>Additive Mixing 260 --<br/>Subtractive Mixing 261 --<br/>Optical Color Mixing 262 --<br/>Practice Exercise 8.2 Visual Mixing of Color 263 --<br/>Practice Exercise 8.3 Visual Color Mixing Compositions 263 --<br/>Subtractive Color Mixing and Color Circles 265 --<br/>Practice Exercise 8.4 Constructing a Color Circle 266 --<br/>Color Harmonies and Major Types of Hue Relationships 267 --<br/>Neutral or Achromatic Color 267 --<br/>Practice Exercise 8.5 Mixing Achromatic Colors 267 --<br/>Practice Exercise 8.6 Formal Compositions in Achromatic Colors 268 --<br/>Monochromatic Harmony 269 --<br/>Practice Exercise 8.7 Mixing Tints and Shades of a Single Hue 269 --<br/>Practice Exercise 8.8 Monochromatic Compositions 270 --<br/>Selecting Analogous Harmonies 270 --<br/>Practice Exercise 8.9 Color Mixing Applied to a Three Dimensional Form 272 --<br/>Complementary Color Harmonies 273 --<br/>Practice Exercise 8.10 Creating Color Vibration Using Complementary Hues 274 --<br/>Selecting Split Complementary Hues 275 --<br/>Afterimage Phenomenon 276 --<br/>Triad Harmony 278 --<br/>Tetrad Harmony 278 --<br/>Figure/Ground and Color Relationships 279 --<br/>Size, Color, and Luminosity 279 --<br/>Simultaneous Color Contrast 281 --<br/>Simultaneous Contrast with Value 281 --<br/>Simultaneous Contrast with Saturation 281 --<br/>Simultaneous Contrast with Hue 281 --<br/>Color as a Depth Cue 283 --<br/>Aerial Perspective 283 --<br/>Color Balance and Proportion 284 --<br/>Practice Exercise 8.11 Color Balance and Proportion 285 --<br/>Psychology of Color 285 --<br/>Practice Exercise 8.12 Color Association 286 --<br/>Practice Exercise 8.13 Color Association and Music 286 --<br/>Two-Dimensional Color Studies 287 --<br/>Practice Exercise 8.14 Two-Dimensional Color Study 287 --<br/>Practice Exercise 8.15 Color Relief Composition 288 --<br/>Practice Exercise 8.16 Color Related to a Free Standing Model Using a Proportional System 290 --<br/>Three-Dimensional Color Studies 292 --<br/>Practice Exercise 8.17 Volumetric Paper Forms Emphasizing Color Harmonies and Symmetry Patterns 292 --<br/>Practice Exercise 8.18 Three-Dimensional Color Study Using a Proportional System 294 --<br/>Practice Exercise 8.19 Three-Dimensional Color and Shape Transformations 296 --<br/>Practice Exercise 8.20 Designing a Color Cylinder 298 --<br/>Practice Exercise 8.21 Designing a Play Structure for Children and the Application of Color 300 --<br/>References and Resources 301 --<br/>Chapter 9 Space, Depth, and Distance 303 --<br/>Chapter Vocabulary 305 --<br/>Introduction to Space, Depth, and Distance 305 --<br/>Depth Perception 307 --<br/>Three-Dimensional Space 307 --<br/>Depth Perception and Constancy 307 --<br/>Size Constancy 308 --<br/>Shape Constancy 309 --<br/>Brightness Constancy 310 --<br/>Color Constancy 310 --<br/>Binocular Depth Cues 310 --<br/>Muscular Depth Cues 310 --<br/>Parallax Depth Cues 311 --<br/>Head-Movement Parallax 312 --<br/>Movement Perspective or Parallax 312 --<br/>Two-Dimensional Space and the Picture Plane 312 --<br/>Monocular Depth Cues 312 --<br/>Size 312 --<br/>Position 316 --<br/>Overlap 317 --<br/>Attached and Cast Shadows 318 --<br/>Tone or Value as Depth Cues 319 --<br/>Linear Perspective 322 --<br/>One-Point Perspective 324 --<br/>Gradients 325 --<br/>Density Gradient 327 --<br/>Detail Gradient 327 --<br/>Color Gradient 328 --<br/>Texture and Pattern Gradient 328 --<br/>Other Depth Cues 328 --<br/>Transparency 328 --<br/>Blurring 329 --<br/>Filled Versus Unfilled Space 330 --<br/>Practice Exercise 9.1 Identifying Depth Cues 330 --<br/>References and Resources 331 --<br/>Chapter 10 Perception of Figure and Form 333 --<br/>Chapter Vocabulary 335 --<br/>Introduction to Perception of Figure and Form 335 --<br/>Perceiving Shapes and Forms 335 --<br/>Shape Perception 336 --<br/>Gestalt Psychology and Visual Perception 336 --<br/>The Law of Prägnanz 337 --<br/>Shape Identity 338 --<br/>Simple Versus Complex Shapes 338 --<br/>Maintaining Regularity and Symmetry in Simple Shapes 339 --<br/>Law of Closure 341 --<br/>Practice Exercise 10.1 Understanding the Law of Closure 341 --<br/>Practice Exercise 10.2 The Role of Association in Shape Perception of Letter Symbols and Type Styles 343 --<br/>Creating New Shape Configurations 344 --<br/>Practice Exercise 10.3 Combining Shapes to Create Figures 345 --<br/>Two and Three Dimensional Forms and Their Orientation on the Picture Plane 346 --<br/>Geometric Illusions 347 --<br/>Ambiguous Figures 349 --<br/>Ambiguous Patterns 350 --<br/>Perceiving Three-Dimensional Figures 352 --<br/>Ambiguous Figures in Three Dimensions 353 --<br/>Impossible Figures 354 --<br/>Practice Exercise 10.4 Developing Impossible Figure Illusions 355 --<br/>Distinguishing Figure and Ground 356 --<br/>Practice Exercise 10.5 Size and Its Effect on Figure and Ground Relationships 358 --<br/>Embedded Figures and Camouflage 359 --<br/>Practice Exercise 10.6 Hidden Figures and Their Shape Combinations 360 --<br/>Brightness Contrast in Figure / Ground Relationships 361 --<br/>Brightness Contrast in Just Noticeable Differences (JND) in Figure / Ground Compositions 362 --<br/>Figure / Ground Reversal 363 --<br/>Figure / Ground Reversals (Pattern Fluctuation) 364 --<br/>Types of Patterns 366 --<br/>Overlapping Figures 367 --<br/>Practice Exercise 10.7 Overlapping Figures Using Figure / Ground Reversal 368 --<br/>Moiré Patterns 369 --<br/>References and Resources 370 --<br/>Chapter 11 Perceptual Principles of Organization 371 --<br/>Chapter Vocabulary 373 --<br/>Introduction to Perceptual Principles of Organization 374 --<br/>Overview of the Design Process Using Communication Theory and Practice 374 --<br/>Theories and Principles That Assist in Visual Message and Form Generation 375 --<br/>Communication Theory 375 --<br/>Types of Models 375 --<br/>Berlo's Model of Human Communication 377 --<br/>Structuring a Visual Message 378 --<br/>Human Communication, Messages, and Codes 380 --<br/>Use of Semiotic Theory in Visual Sign Making 382 --<br/>Developing Signs and Symbols 385 --<br/>Pictographs 387 --<br/>Planning, Analyzing, and Organizing a Message Within a Visual Field 390 --<br/>Types of Two Dimensional Formats 392 --<br/>Creating a Visual Message Within a Format 397 --<br/>Organizing the Two-Dimensional Format 397 --<br/>Grids 397 --<br/>Dividing the Format 398 --<br/>Practice Exercise 11.1 Grids Used in Visual Organization 400 --<br/>Positioning Compositional Elements Within the Two Dimensional Format 402 --<br/>Practice Exercise 11.2 Exploring Format and Compositional Elements in Two Dimensions 403 --<br/>Compositional Study Relating an Object to Various Formats 405 --<br/>Introduction to Aesthetic Principles in Visual Organization 409 --<br/>Properties of Good Figures / Forms 409 --<br/>Visual Qualities of a Message 409 --<br/>Dominance and Emphasis 409 --<br/>Placement of Groups of Compositional Elements Within a Format 409 --<br/>Types of Groupings According to Compositional Balance 410 --<br/>Compositional Balance 412 --<br/>Types of Balance 412 --<br/>Practice Exercise 11.3 Exploring Balance Using One Compositional Element 413 --<br/>Practice Exercise 11.4 Understanding Balance Through Grouping and Contrasting Stable and Unstable Figures 414 --<br/>Visual Contrast 415 --<br/>Practice Exercise 11.5 Using Contrast in Creating a Visual Message 415 --<br/>Grouping Elements Within a Format 418 --<br/>Introduction to Gestalt Grouping Laws 420 --<br/>Similarity 420 --<br/>Proximity 421 --<br/>Closure 422 --<br/>Good Continuation 422 --<br/>Visual Associations 422 --<br/>Practice Exercise 11.6 Using Gestalt Perceptual Organizational Principles in Compositions 422 --<br/>Practice Exercise 11.7 Package Graphics 424 --<br/>Practice Exercise 11.8 Design a Poster 426 --<br/>Practice Exercise 11.9 Visual Organization and Form and Pattern Correlations 427 --<br/>Practice Exercise 11.10 Developing Holiday Symbols and Posters Using Simple Geometric Shapes 428 --<br/>Practice Exercise 11.11 Three Dimensional Game Using Visual Organization Principles 430 --<br/>References and Resources 431 --<br/>Chapter 12 Symmetry and Dynamic Symmetry 433 --<br/>Chapter Vocabulary 435 --<br/>Introduction to the Organization of Form 435 --<br/>Prescriptive Principles of Visual Organization 436 --<br/>Introduction to Spatial Organization 436 --<br/>Centralized Organizations 437 --<br/>Linear Organizations 438 --<br/>Radial Organizations 439 --<br/>Clustered Organizations 440 --<br/>Grid / Lattice Organization 441 --<br/>Introduction to Pattern 442 --<br/>Practice Exercise 12.1 Creating Pattern 443 --<br/>Introduction to Symmetry 445 --<br/>Historical Development of Symmetry Studies 445 --<br/>Symmetry Theory 446 --<br/>Symmetry Terminology 446 --<br/>Symmetry Morphology 447 --<br/>Symmetry in the Environment 448 --<br/>Practice Exercise 12.2 Symmetry and Asymmetry in Man 449 --<br/>Selecting a Figure for Symmetry Studies 450 --<br/>Isometric Symmetry Operations 451 --<br/>Identity 451 --<br/>Translation 452 --<br/>Rotation 453 --<br/>Reflection 454 --<br/>Glide Reflection 456 --<br/>Practice Exercise 12.3: Applying Symmetry 457 --<br/>Application of Symmetry Operations in Advertising and Graphic Design 458 --<br/>Isometric Symmetry Operations in Combination 460 --<br/>Translation / Rotation 460 --<br/>Rotation / Reflection 461 --<br/>Translation / Glide Reflection 462 --<br/>Glide Reflection / Rotation 463 --<br/>Rotation / Reflection 463 --<br/>Nonisometric Symmetry Operations 464 --<br/>Projective Operations 465 --<br/>Dilative Operation 467 --<br/>Topological Operations 468 --<br/>Symmetry Figures in Three Dimensions 469 --<br/>Translation of Three Dimensional Figures 469 --<br/>Rotation Translation of Three Dimensional Figures 470 --<br/>Lattices as an Organizational Device 470 --<br/>Structure and Terminology 470 --<br/>Square Lattice 471 --<br/>Square Diamond Lattice 472 --<br/>Rhombus Lattice 473 --<br/>Rectangular Lattice 474 --<br/>Triangular Lattice 475 --<br/>Diamond Lattice 476 --<br/>Hexagonal Lattice 477 --<br/>Introduction to Dynamic Symmetry 478 --<br/>Ratio 478 --<br/>Proportion 478 --<br/>Progression 479 --<br/>Root Rectangles 480 --<br/>Practice Exercise 12.3: Constructing a Pentagon from a Root Five Rectangle 486 --<br/>Golden Mean 487 --<br/>Construction of the Nautilus Shell 488 --<br/>Practice Exercise 12.4 Golden Mean Rectangle Construction and Subdivision 488 --<br/>Practice Exercise 12.5 Constructing Golden Mean Proportions 489 --<br/>Golden Mean Proportions in Architecture 490 --<br/>Golden Mean Proportions and Man 491 --<br/>The Fibonacci Ratio 491 --<br/>Practice Exercise 12.6 Design a Game to Illustrate the Fibonacci Sequence Ratio 493 --<br/>References and Resources 494 --<br/>Appendix 495 --<br/>Approaches to Creating Symmetry Compositions 496 --<br/>Nonisometric / Isometric Transformation Compositions 497 --<br/>Practice Exercise A.1 The Process for Generating Symmetry Compositions Using Shape Transformations 499 --<br/>Dynamic Symmetry Transformation Compositions 502 --<br/>Using the Golden Mean Construction 504 --<br/>Additive / Subtractive Symmetry Compositions 506 --<br/>Credits 515 --<br/>Index 517 --<br/><br/> |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
Visual perception |
| 9 (RLIN) |
186140 |
| Source of heading or term |
Local |
|
|---|
| Topical term or geographic name entry element |
Perspective. |
| 9 (RLIN) |
150058 |
| Source of heading or term |
Local |
|
|---|
| Topical term or geographic name entry element |
Proportion |
| 9 (RLIN) |
266295 |
| Source of heading or term |
Local |
|
|---|
| Topical term or geographic name entry element |
Symmetry. |
| 9 (RLIN) |
176395 |
| Source of heading or term |
Local |
|
|---|
| Topical term or geographic name entry element |
Composition |
| 9 (RLIN) |
212299 |
| Source of heading or term |
Local |
| 700 2# - ADDED ENTRY--PERSONAL NAME |
|---|
| Personal name |
Busic-Snyder, Cynthia. |
| 9 (RLIN) |
206108 |
|
|---|
| Personal name |
Morgan, Meredith. |
| 9 (RLIN) |
255562 |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) |
|---|
| Source of classification or shelving scheme |
Library of Congress Classification |
| Koha item type |
Libro Col. General CARIBET |
| Classification part |
N7430.5 |
| Call number prefix |
General |
| Call number suffix |
W35 1992 |