Historical Development of Graphic Design and Animation Theories - Essay Example

Historical Development of Graphic Design and Animation Theories al Affiliation) Contrary to misguided public beliefs, the perceptions of visual arts vary from one individual to another. This aspect is brought about by the geographical and historical influences on an artist’s school of thought. For instance, inaugural evidences of graphics first emerged during pre-historic times in the form of horse drawings in the Chauvet and Lascaux caves both located in France. Later, ancient Chinese writings were discovered, dating back to the second century. In fact, even biblical texts have shown existence of graphics implied in the form of stone tablets. As the art of graphics spread globally, different regions at different points of time developed diverging interpretation on graphics. Some conceptualized graphics as a product of color while others believed, to be stemmed from perception. This gave rise to the Color Theory and Gestalt Principles. Similarly, motion pictures enthusiasts replicated diversions on artistic beliefs. Consequently, these discrepancies in beliefs were triggered by technological innovations. Unlike original animators who solely relied on manual drawings, a new breed emerged that had bias preference in the use of computer software. Historical Developments of Theories in Graphics Design Early specimen of graphics manifested in the form of symbols, signs and writings on any surface. A myriad of graphic designs were developed through time applying different techniques to capture the attention of the admiring audience. It was not until the 1920s when a group of German psychologists namely: Max Wertheimer, Wolfgang Kohler and Kurt Koffka, devised a systematic approach in graphical design perception. They based their interpretation of graphical design on the notion of completion, where audiences sub-consciously view separately arranged entities as a single item. This phenomenon has transcended through the bounds of the 20th century, to ascertain itself as a contemporary trend in commercial advertisements. The latter philosophical advancement was christened as the Gestalt Theory, deriving its name from German tongue. Later, renowned scholar Rodolf Arnheim formulated relevant principles that further expounded the theory. These principles comprised of: Similarity This principle suggests that when similar appearing objects are placed into close proximity, viewers tend to assume some kind of relationship between the two or more entities. Perceived similarities are deduced on the basis of; shape, texture, value, color and size. Additionally, the aspect of anomaly is created when deviation from implied pattern is observed. Continuation Continuation is manifested when the audience’s attention is captured by an unending route, path or curve which can be complimentary used to point towards a secondary element in the text. Closure Closure is a design skill that manipulates the human eye to view incomplete and open shapes as closed and complete. The viewer is virtually compelled to complete the image. This technique is synonymous to logo designs and stencil works. Proximity or Grouping The perception of a viewer is consequently altered following differences in proximal arrangements. For instance when a group of similar appearing squares is systematically arranged, they may seem to be closely related as they depict a larger square. However, when the same group of squares is erratically arranged, no relationship can be deduced. Figure or Ground This principle expounds on the tendency of viewers to separate objects from the underlying back-ground. This exemplified by the opposing faces and vase experiment where images of differing shades of colors (black and white) were viewed. Different viewers deduced the image as a glass vase, while others described the image as a picture of two faces. Consequently, this proved that viewers are completely drawn on the object itself, only to assume the background (The designer’s guide to Gestalt Theory, 2015). Symmetry and Order The underlying facts guiding this principle suggest that viewers are repelled by images that exhibit some sense of disorientation, disorder and randomness. It was also deuced that viewers would not engage in any efforts of trying to decode the intended message or finding the missing element. Later in time, colors were incorporated into graphics. This was so because colors were able to convey emotions and moods unlike previous monotonous colors (black and white). From the latter events, it can be presumed that colors breathed life into graphics (Sullivan, 2010). Most people’s initial knowledge on color, seem to suggest that all colors are simple mixture of three primary colors; green, red and blue. The color theory vehemently disputes this notion (Wells, 2013). Color Formation It is crucial to understand the basics of color formation so as to accurately utilize those (colors) in graphic design to imply various moods (Wells, 2002). The contentious issue of color formation dates back to the 15th century where a number of disciplines were used in explaining the concept, namely; chemistry, mathematics and physics (Prowda, 2013). However, not all yielded to viable conclusion. In the efforts of comprehensively grasping of the color theory, various intricacies need to be explained: Color Systems Color systems are further categorized into divergent beliefs. Namely: Additive The additive school of thought can be explained in respect light emitting instruments such as television screens, projectors and the sun. The additive system suggests that colors are derived from a variation of wave lengths. It stipulates that the more light added, the brighter the color becomes (How to master color theory, 2014). When this notion is applied, the primary colors are assumed to be Red, Green and Blue. It simultaneously directs that white is the amalgamation of colors while on the other hand black implies the lack of color (Heller & Vienne, 2012). Subtractive Contrastingly, the subtractive notion derives its deductions from the notion that color is a simple reflection of pigment. The primary colors that consist of this though are: Cyan, Key, Magenta and Yellow.” Key” implies the color black as it’s the only light absorbing color in the group. The Color Wheel In the 18th century, the color wheel was developed in the efforts of establishing relationships between different colors .It mapped primary colors close to each other such that completely opposing colors lay directly opposite to one another, relatively similar colors lay adjacent to one another while transitional colors were positioned within close proximity. The color wheel was used to deduce the hue, saturation and brightness of colors. Classic Graphic Design Theory Despite all the in-roads achieved by the Gestalt theory in shaping the present and future of contemporary graphic design, much of the plaudits belong to the Classic Graphic Design theory which entails the basic intricacies of the latter. Generally, no piece of fine art and graphical layout may be perceived to be accomplished without adherence to its principles or bearing its elements. Furthermore, even graphical design pieces dating back to the Stone Age period concur with the its doctrine. Consequently, this theory explains of the various elements and principles of design. I. Elements of design a. Line Basically a line can be simply termed as a culmination of dots. However, as simple as they may be perceived lines act as the basic instrument in graphic design as they are able portray objects and images in two dimensions; length and width. Most importantly, they partially or wholly enclose images through edges and outlines enabling them attain some comprehensible form. Additionally, the aspect of line can be further expounded into the following perspectives: i. Line direction Distinct directions exhibited by lines are usually used to convey specific moods. For instance, horizontal lines mostly insinuate a sense of calmness. On the other hand, vertical lines indicate traces of dynamism. Finally, diagonal lines are used to imply motion and vitality. ii. Gesture and Contours Gesture drawings can be termed as lines with indefinite boundaries which are used to imply motion. In addition, Contour drawings are formed of lines which border forms. iii. Line as value In more advance graphic design pieces, lines can be used to create a three dimension effect to 2-D images by exerting grey areas in the images. These grey areas are synonymously referred to as areas of value. b. Shape Shape can be simply termed as the aspect of form exhibited by objects which is achieved by well defined boundaries. Subsequently, shapes are conceived by value changes, lines and color variance. Besides, it is imperative to distinguish between shapes and sculptures in that shapes can only be viewed in a two dimensional perspective while the latter can be perceived to have mass and volume therefore implying it is a 3-D graphic design component. Moreover, shapes can be further classified into positive shapes and negative shapes. Positive shapes refere to the area enclosed by a particular image while the later entails externally surrounding the image. Many, at times have artists used both entities to portray relevant themes. c. Texture Texture is the feeling of smoothness and roughness implied by an object. However, since images lack sense of touch, texture can be implied through systematic varying color tones. d. Value and Color Contemporary graphical designs are characteristic of using value largely because it implies a sense of vitality so as to endure themselves to the masses. This is mainly achieved by applying varied degrees of lightness and darkness on a specific area. Additionally, value is used to insinuate emphasis particularly on an distinct image which strives to be the center of attention. Despite its continued use graphic design over the last century, not many people have accurately defined the phenomenon on the use of color. Contrastingly, contrary to common perceptions no object no image bears any form of color, as the latter is more of an illusion right before our eyes. Color exists when specified components of the sunluights wavelength refklect to our eyes. To gain a better understanding ion the concept, physics on matters light must be explained. Sunlight is usually an aggregate of seven distinct wave lengths, namely red, blue, yellow, green, orange indigo and violet. Incidentally, the light strikes surfaces at different angles therefore implying only specific wavelengths will be able to reflected thus explaining the coloer we see in images and objects (Bowers, 2012). Furthermore, the notion of color can be examined on varied lenses which include hue, value and intensity. Color hue implies the pre-mentioned colors comprising natural light. They are the seven basic colors which other colors stem from. On the other hand, color value is the darkness or lightness depicted by a certain color, this is usually achieved by adding white forming a tint or black forming a shade. Finally, color intensity, commonly referred to as saturation indicates the purity and brightness of a certain colors,. Most secondary colors can be perceived to be of low intensity since they are a combination of two or three primary colors (Bennett,2006). e. Space Space like other contemporary components of contemporary visual arts is used to indicate proximity and depth. The latter phenomenon is usually achieved by utilizing aspects size and vertical orientation. For instance, images and objects that are perceived to be relatively far are smaller in size or placed higher on a page. On the other hand images that are perceived to be closer are larger in size situated at the bottom of a page. Additionally artists may use the technique of overlapping to insinuate relative distance (Barnard, 2013). II. Principles of design Any form of art must conform to either of the following principles in the efforts of precisely conveying intended themes. They are: A. Movement Motion in graphic design is best illustrated in the following instances; drawing imbalanced body positions and gestures, using blurred outlines, drawing overlapping images at varied body positions and creating optical illusions by repeating patterns (Davis, 2012). B. Balance Visual balance of an image is usually detected by the size and value of the specific image. Mores o, the notion of balance can be classified into two variables, symmetrical and asymmetrical balance. The concept of a symmetrical balance can be best explained using the context of a mirror and image, in that the drawing of a specified object can be dissected into two identical images on an axis (Armstrong, 2012). This principle is mainly applied in architectural designs. However asymmetrical balance is perceived in terms of color, value and tone such that when an object in a drawing bears a ‘loud’ color such as scarlet red the artist may choose to tone down the effect of the color by subsequently using a rather subdued color such as indigo. Similarly, the artist may choose to evenly utilize value elements, black and white, so as to create a sense of balance in the drawing. C. Unity Unity in visual arts can be interpreted as both a principle and a theme. Unity in drawing is insinuated by placing relevant objects to close proximity or by repetition of individual components in drawings. Animation Visual arts have been also termed as living arts. This is because of their nature in exhibiting similar characteristics with human beings such as; portraying emotions. Evidence of animation can be traced back in time where; an ancient pot vessel in Burnt City, Iran, revealed evidence of animation dating back to the 14th century- it was covered with images of hoping desert antelopes trying to reach for leaves. Later, traces of animation were evident in the form of play cards found in China. Varied approaches to animation included: Traditional Animation Also known as cell animation, the technique was used in producing many films in the 20th century. It involves drawing a series of varying pictures implying the sense of movement. Later the images would be copied to transparent sheets of paper where the background environment is painted (Giampierto, 2011). Traditional animation can be further divided into the following categories: Full animation Full animations are exemplified by high quality traditional animations that were characterized by precise drawings that exhibited plausible movements. Rotoscoping Involves the use of a rotoscope to trace and monitor footage frame by frame for use in live action. Limited Animation This technique is less descriptive and shows less detail as production does not redraft entire frames. It relatively cost effective and has been used to make cartoons (Efland, 2002). Computerization theory The wake of 21st century has seen the automation of various forms of arts. This bug most recently caught up with the visual arts discipline. Computer software has been developed to simulate various effects and camera movements. Automation of animation has led to the development of 3D imagery, which can be easily controlled and more intricate movement captured (Barchas, 2003). The process is initiated by modeling of body forms into virtual skeletons on the computer’s monitor. Intended movements are then controlled by key frames. Conclusion Over time, a number of theories explaining the dynamics of visual arts have been developed; with each party to a specific theory implying overall authority. However, with art being a form of expression cannot be limited to mere human perceptions. Segments of visual arts such as graphic design and animation will forever develop and manifest new forms. For this reason, alternate and differing theories depicting various disciplines of fine arts have to be taken into consideration collaboratively. References Armstrong, H. (2012). Graphic Design Theory: Readings from the Field (Illustrated ed.). New York, New York: Princeton Architectural Press Barchas, J. (2003). Graphic Design: Print Culture and the Eighteenth Century Novel. Cambridge: Cambridge University Press. Barnard, M. (2013). Graphic Design as Communication. New York, New York: Routledge. Bennett, A. (2006). Design Studies: Theories and research in graphic design (Illustrated ed.). New York, New York: Princeton Architectural Press. Bowers, J. (2012). Introduction to Graphic Design Methodologies and Processes. Hoboken, New Jersey: John Wiley & Sons. Davis, M. (2012). Graphic Design Theory (Illustrated ed.). London: Thames & Hudson. Efland, A. (2002). Art and Cognition: Visual Arts in the curriculum. New York, New York: Teachers College Press. Gaimpierto, R. (2011). Graphic Design: Now in Production. Minneapolis, Minnesota: Walker Art Center. Heller, S., & Vienne, V. (2012). Graphic Design: A New History (2nd ed.). New Haven, Connecticut: Yale University Press. How to master color theory. (2014). Retrieved December 7, 2015, from http://www.creativebloq.com/graphic-design/gestalt-theory-10134960 Prowda, J. (2013). Visual Arts and The Law. Vermont: Ashgate Publishing. Sullivan, G. (2010). Art Practice as Research: Inquiry in Visual Arts. New York, New York: SAGE. The designers guide to Gestalt Theory. (2015). Retrieved December 7, 2015, from http://www.creativebloq.com/graphic-design/gestalt-theory-10134960 Wells, P. (2002). Animation: Genre and Authorship (Illustrated ed.). Manhattan, New York: Wallflower Press. Wells, P. (2013). Understanding Animation (Revised ed.). New York, New York: Routledge. Read More