What the Brain Sees Color Form Depth Movement.

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Presentation transcript:

What the Brain Sees Color Form Depth Movement

Describing Color Objective Method: Physics: The result of specific wavelength Comparative Method: (To other ‘known” colors) Chroma (the color itself), Value (tinting [black]/shading [white]), Lightness (reflects off surface)/ Brightness (luminance where being viewed) Subjective: Mental association with the color: emotions

What the Brain Sees Color Form Depth Movement

“defines the outside edges and internal parts of an object” Form “defines the outside edges and internal parts of an object” Dots Simplest form: dots can form images as in pointillism and halftone reproduction Lines “Outward expression of linear thinking”: Horizontal, Vertical, Diagonal, Curved, etc. Shapes Parallelograms, Circles, and Triangles Halftones

The use of lines and shapes in film continuity: Eisenstein’s Potmemkin

What the Brain Sees Color Form Depth Movement

Depth: Eight Cues Space: “...the frame in which an image is located.” Size: Compared to the actual size or a known referent Color: Warm v. cool colors Lighting: Intensity and/or the prevalence of shadows (chiaroscuro) Textural Gradients: Ripple effect (ripples closer together as viewer moves away Interposition: Placement of objects in front of each other to create the illusion of depth Time: Establishes foreground from background as the eye views the picture Perspective: Illusionary, geometrical, conceptual (multiview, social)

Perspective ‘ The School of Athens’ by Raphael (1518), a ‘The School of Athens’ by Raphael (1518), a fine example of architectural perspective with a central vanishing point.

What the Brain Sees Color Form Depth Movement

Movement Real movement: Not applicable to mediated images Apparent movement: When a stationary object appears to move, as in film and video Graphic movement: The motion of the eyes as they scan a graphic arrangement Implied movement: Motion perceived from a static image, as in “visual vibration”