3. What the Brain Sees
Color
Form
Depth
Movement

4. 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

5. What the Brain Sees
Color
Form
Depth
Movement

6. “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

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

8. What the Brain Sees
Color
Form
Depth
Movement

9. 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)

10. 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.

11. What the Brain Sees
Color
Form
Depth
Movement

12. 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”