By Kenneth L. Smith, Sandra Moriarty, Keith Kenney, Gretchen Barbatsis
"This guide of visible conversation explores the foremost theoretical parts in visible conversation, and offers the learn equipment used in exploring how humans see and the way visible conversation happens. With chapters contributed by way of a few of the best-known and revered students in visible verbal exchange, this quantity brings jointly major and influential paintings within the visible communique self-discipline. the amount may also be precious to practitioners looking to comprehend the visible features in their media and the visible techniques utilized by their audiences.
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Extra resources for Handbook of Visual Communication Theory, Methods, and Media
BritishJournal of Developmental Psychology, 5, 321-331. Semmes, J. (1968). Hemispheric specialization: A possible clue to mechanism. Neuropsychologia, 6, 11-26. , & Smolucha, F. (1985). A fifth piagetian stage: The collaboration between analogical and logical thinking in artistic creativity. Visual Arts Research, 11(2), 91-99. , & Rothenberg, A. (1980). Artistic creation as stimulated by superimposed versus separated visual images. Journal of Personality and Social Psychology, 39(5), 953-961. Sperry, R.
Rather than treating the image as a static, set arrangement, it is more productive for understanding to view images as evidence of an ongoing process that is always completed in the viewer's mind. The process of image creation proceeds through extended visual-to-visual experimentation shaping relationships with aesthetic precision through extended visual exploration. Finally, the synergetic interactions be tween the six principles, called the Layering process, will be examined by comparing the highly developed aesthetics in two artworks by professional artist Chuck Richards.
Source drawings (scribbles), George Pritchard, pencil on paper (used with permission of the artist). and contextual nature of interrelationships among aesthetic phenomena. The imagemaker's reasons and the viewer's mind can meet only after a period of critical viewing and extended analogical thinking. Control of Direction This principle holds that human beings are, on the one hand, able to make conscious decisions about the direction their designs will develop and also, to some extent about the way the viewer will process the visual clues.
Handbook of Visual Communication Theory, Methods, and Media by Kenneth L. Smith, Sandra Moriarty, Keith Kenney, Gretchen Barbatsis