Similarity
Similarity refers to what elements look like and how they effect grouping. When your brain tries to take in a complicated work, it processes it by grouping. The three ways to group items is by size, value/color, and shape.
The author, James Saw, argues that the more alike the items are, the more likely they are to form groups. Saw contributes supporting evidence though example images. The article does a great job of grouping and organizing text so that the concept is easy to understand. In Saw's conclusion, I like that he pointed out that "it is important to understand that it is possible, often necessary, to deliberately make items look different in order to make them stand out or to create more variety in a composition."
The author's argument does support his main points. He did a nice job of describing the three different ways in which similarity can or cannot be achieved in three paragraphs. However, more visuals would've been a little more helpful. As a graphic designer, I look most forward to using dissimilarity in order to make a certain element stand out. I fully understood the article.
I thought that it was interesting that size was more dominant than shape. I also was surprised to learn how shape can also create direction and appeal to our "sense of order."
http://daphne.palomar.edu/design/simnprox.html
Continuation
Continuity is the idea that an audience/reader will tend to continue shapes beyond their ending points. Shapes, lines, etc. will continue on until it is met with other elements or the edge of the frame. Continuation allows a designer to portray relatedness within a piece of work. It is especially handy for indicating and understanding.
Continuity creates a fluid connection among "compositional parts." Author Andy Rutledge does a nice job of defining continuation as "elements arranged on a line or curve are perceived to be more related than elements not on the line or curve." This Gestalt principle is also very important for conveying information. For example, the lines of text in this paragraph are linear, and guide your eye where to read next. It is also helpful in visual structures, such as infographics.
I like how Rutledge pointed out that linear arrangement for good continuation can also be vertical. I also liked how Rutledge talked about the grid system, because I am familiar with it. I use it everyday, sometimes in my graphics, and in my yearbook spreads.
http://www.andyrutledge.com/gestalt-principles-3.php
Closure
The principle of closure is about drawing conclusions. Common references to closure in design are cliched and clever.
When the reader looks at a piece of work that is not complete/missing an element, they will automatically use closer to fill in what they believe should be there. As humans, we tend to make the wrong assumptions. This Gestalt principle is rarely associated with real life.
Author Andy Rutledge makes a good connection when he states, "And since we almost never have the full picture anyway, the principle of closure is at the core of almost every decision we make, every understanding we claim, and our every effort to grasp the complexity of the world around us."
There is a fine line to be aware of when designing with closure in mind. As a designer, we must find the perfect amount of closure that allows our audience to still perceive the work. If too much of the pattern is missing, closure is less likely to occur.
When working with closure, it is typically easier for an audience to identify another human face than it is an object. Nonetheless, the audience is generally successful in identifying the reference as long as the design provides an efficient function of closure. Rutledge also provides interesting examples of how closure can be used to show motion as well.
http://www.andyrutledge.com/gestalt-principles-3.php
Author Andy Rutledge makes a good connection when he states, "And since we almost never have the full picture anyway, the principle of closure is at the core of almost every decision we make, every understanding we claim, and our every effort to grasp the complexity of the world around us."
There is a fine line to be aware of when designing with closure in mind. As a designer, we must find the perfect amount of closure that allows our audience to still perceive the work. If too much of the pattern is missing, closure is less likely to occur.
When working with closure, it is typically easier for an audience to identify another human face than it is an object. Nonetheless, the audience is generally successful in identifying the reference as long as the design provides an efficient function of closure. Rutledge also provides interesting examples of how closure can be used to show motion as well.
http://www.andyrutledge.com/gestalt-principles-3.php
Proximity
Proximity is often associated with similarity. It refers to where elements are and how they effect grouping. The main types of proximity are close edge, touch, overlap, and combine.
The author, James Saw, argues that "proximity relationships will generally dominate over similarity relationships." However, he qualifies his argument though the use of images. This particular article does a good job of describing in detail how the four specific types of proximity relationships work to our benefits as designers. Saw concludes that it is important, as a designer, to use proximity and similarity together in order to gain the "strongest control" of the work.
The author's argument does support his main points. He did a nice job of describing the four different ways in which proximity can be achieved throughout short paragraphs that allowed the reader to really grasp the information being given. However, more visuals would've been a little more helpful. As a graphic designer, I look most forward to using the proximity relationships with elements other than just type. I fully understood the article.
I thought that it was interesting that even once the letters of "close edge" were spread further apart, the brain still registered the two separate words. I also really enjoyed the hierarchy of overlap. I think that would be another great way to push myself as a designer.
http://daphne.palomar.edu/design/simnprox.html
Figure/Ground
Figure Ground Relationship is defined, "elements are perceived as either figures (distinct elements of focus) or ground (the background or landscape on which figures rest). Determining this relationship is important because it is the first thing people register at first glance. The brain gives immediate attention to figures. Ground is not as important, but it still can provide meaningful context.
This Gestalt principle is especially important as a designer considering what order of priority you want your viewer to see your elements in. Author Andy Rutledge safely sums it up as "allowing us to determine what we're supposed to look at and what we might safely ignore."
Figure ground relationship is often implied in working with dimension. There can be different levels of hierarchy in the ground element.
http://www.andyrutledge.com/gestalt-principles-3.php
This Gestalt principle is especially important as a designer considering what order of priority you want your viewer to see your elements in. Author Andy Rutledge safely sums it up as "allowing us to determine what we're supposed to look at and what we might safely ignore."
Figure ground relationship is often implied in working with dimension. There can be different levels of hierarchy in the ground element.
http://www.andyrutledge.com/gestalt-principles-3.php
Symmetry and Order
Symmetry is important in design because it ensures that your viewer will not be given the impression that something is out of balance/missing/wrong. If an element is asymmetrical, the audience will likely spend more time trying to find the problem instead of admiring and concentration on the work as a whole.
Order provides stability, consistency, and structure to a work. The arrangement, or order, of elements allows a designer to portray a positive or negative connotation of the work depending on the communication trying to get across.
For example, traffic signs, sets of instructions, and reference books must effectively present the message so that it is comprehensible and can be retained quickly. People are so used to receiving information that is very simple and organized. Therefore, trying to complicate that design will frustrate the viewer for having to put in too much effort in order to comprehend.
http://facweb.cs.depaul.edu/sgrais/gestalt_principles.htm
Order provides stability, consistency, and structure to a work. The arrangement, or order, of elements allows a designer to portray a positive or negative connotation of the work depending on the communication trying to get across.
For example, traffic signs, sets of instructions, and reference books must effectively present the message so that it is comprehensible and can be retained quickly. People are so used to receiving information that is very simple and organized. Therefore, trying to complicate that design will frustrate the viewer for having to put in too much effort in order to comprehend.
http://facweb.cs.depaul.edu/sgrais/gestalt_principles.htm
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