Gestalt and Ambiguous Figures

Gestalt, known as ‘visual perception’, combines visual geometric elements into groups as a form of visual communication. Most designs of symbols and signs we see now every day that makes use of shapes all come from the heart of the ‘The Gestalt Principles’ or in other words, the ‘Gestalt Theory’. To name a few: Similarity, Continuation, Closure, Proximity, Figure/Ground, are some of those principles that we see, most commonly in logos, especially in Graphic Design, as designers would often play around with shapes, creating abstract symbols that will help how we visually perceive objects, to communicate what they are and what it means. 

My own illustration on using the Similarity principle of the Gestalt Theory, where it is to communicate two objects in one symbol. We first perceive the image as a cutlery – a fork, but with close observation, we can also see it as an arm and hand. In this we can see that the two objects (fork and the arm/hand) are similar in terms of shape and form with such simplicity, thus perceiving our eyes to see one or the other.

The Gestalt Theory, while it may just be the use of geometric simplification, including colour, pattern, simplicity and composition, has been used in many ways to communicate as much as others that involve a lot of complexity from within, such as Illustration. Symbols such as road signs, is one example that, unlike most of Gestalt illustrations, uses very little geometric shapes that can communicate information to the drivers. While it may not have as much psychological effect unlike some Gestalt illustrations, the use of the ‘Continuation’, ‘Closure’ and ‘Proximity’ Principles can be seen in these graphics, as quoted from the article ‘Design Principles: Visual Perception and the Principles of Gestalt’ “(1) These principles sit at the heart of nearly everything we do graphically as designers.”

The Roundabout sign that has the ‘Proximity’ principle

In illustration, we can see the principles of the Gestalt Theory being applied, most noticeably the principles of ‘Closure’, ‘Continuation’, ‘Proximity’ and if not all, mostly the ‘Figure/Ground’. Instead of using abstract shapes, artists such as M.C. Escher, would make use of more than one subject matter, or a collection of everything that we see in the composition, to create a sense of illusion of a another subject matter from within. 

‘Day and Night’, 1938, M.C. Escher

‘Drawing Hands’, 1948, M.C. Escher

Illustrations such as these can have a psychological impact or bring a sense of confusion to figure out why we perceive such things as a whole that makes us wonder, as quoted from The Gestalt Principles “(2) Gestalt is a psychology term which means "unified whole." It is often used to explore the minds and the psychology, of how we as human beings explore and perceive different things that makes us question the reality and the imagine, and to understand our ability to find meaningful perceptions of our world in psychological practices.

References

(1) Bradley, 2014

(2) The Gestalt Principles

Bibliography

Bradley, S. (2014) Design Principles: Visual Perception and the Principles of Gestalt [Online] [Accessed: 21^st March 2015] Available from: http://www.smashingmagazine.com/2014/03/28/design-principles-visual-perception-and-the-principles-of-gestalt/

The Gestalt Principles [Online] [Accessed: 21^st March 2015] Available from: http://graphicdesign.spokanefalls.edu/tutorials/process/gestaltprinciples/gestaltprinc.htm

Cuteness

When we say the word “cute”, it is usually associated to the things that look fuzzy, friendly, innocent or adorable. But what exactly is cute? It is used widely especially with the younger generation as a term to describe something adorable or to compliment someone who looks attractive for their looks or personality, but does the term ‘cute’ also affect how we see things?

Generally we often see and hear the term ‘cuteness’ in visual communication, especially in illustrations and entertainment media, as something small and round, something of a form of basic shapes, typically an oval or a circle and were often given big round eyes as a form of appeal and attraction, as quoted from the article ‘Fifteen Theses on the Cute’ by Francis Richard “(1) Cute relies on big eyes, round heads, fat bellies. The limbs of the cute are stubby or non-existent, its mouth abstracted or disproportionately tiny, its nose button, its ears enormous, or alternatively, invisible.” 

When I draw something ‘cute’, as shown above as my own example, is to showcase that simplicity plays a large role to define the term ‘cute’ using very little detail as possible. While retaining such form and shapes that helps supports those characteristics of being cute, it doesn't necessarily need a lot of attention to detail in order to convey that.

Countries such as Japan, where ‘cute’ known as “Kawaii” in Japanese, can be seen widely in both advertisement and entertainment industry, often involving popular mascots and various characters from TV shows, usually drawn in such way where they appear as a miniature character(s) with a fairly large head and big eyes, known as a ‘Chibi’, a Japanese slang word for “short person” or a “small child”. 

A drawing I did as myself but this time drawn in the style of Japanese ‘Chibi’ drawings. While keeping it simple but with added colour and details, it still retain the term ‘cuteness’ with the use of simplicity, though the large eyes and short body is what kept its value of looking ‘cute’.

Being as part of the popular culture in the entertainment industry, it goes as far where it begins to have an effect on society, both socially and mentally, as quoted from the article, This Japanese Life “(2) Men are just as interested in being kawaii as women. Some high school boys go so far as to shave their legs, wear barette’s in their hair and keep stuffed toys hanging from their school bags. But grown men embrace it as well.” Young people are becoming more pressured to find ways to fit in society, from fashion to make up and (especially) facial surgery, the power to convey cute within one self as a form of attractiveness or to fit in social groups increases peer pressure.

Business men in Japan, would seek subjects that are ‘cute’ or “kawaii” as a form to escape from their boredom and tiredness of their jobs, into virtual reality, thus affecting their social habits. This can be said for those who spend many hours online playing video games or watching TV shows daily, as it is becoming an increasing problem in countries in Asia, typically South Korea and Japan, where anything relating to the term ‘cute’ is heavily commercialized on every product in media entertainment.

References

(1) Richard, 2001

(2) This Japanese Life, 2011

Bibliography

Richard, F. 2001. Fifteen Theses on the Cute [Online] [Accessed: 19^th March 2015] Available from: http://cabinetmagazine.org/issues/4/cute.php

This Japanese Life, 2011, On being cute in Japan [Online] [Accessed: 20^th March 2015] Available from: http://thisjapaneselife.org/2011/11/30/kawaii-cute-in-japan/

Anthropomorphism

Anthropomorphism is a term that is widely used in illustrations and visual culture, especially within works of fiction and storytelling. We can find many of these in storybooks, children's books and in animation that communicate character representation and subverted human tropes through various depictions and artistic interpretations.

It is usually expressed that Anthropomorphism is often to take human characteristics and apply it to subjects, one of them arguably being animals, which is the most popular to be given human-like traits and persona, especially in fantasy stories and fairy tales, to make them relatable towards the audience, as well as to fit into character archetypes and stereotypes. The story book “The Wind in the Willows” whose characters and personas were inspired to reflect characteristics of the British as quoted from the article, Inside Out “(1) The lively imagination of Grahame which created a rich cast of characters and captured the essence of a quintessentially English countryside, was inspired by his home near the Thames and many hours spent holidaying at Fowey, Cornwall.”

Illustration of the character Toad Hall by E.H Shepard, 1931. The Wind in the Willows by Kenneth Grahame.

They are often used to simplify the story telling process, including drawings or concept of characters, in which it would help to them make them understandable towards children with simplified identification. 

Here is my anthropomorphic personification depiction on 'Illustration'. The personification of 'illustration' is to depict that most illustrators are to have a 'keen eye' who are to absorb visual information around them to explore and observe for ideas and creativity, thus the representation of 'illustration' being in a physical form of a bird for its anthropomorphism personification makes sense in terms of relating the distinct characteristics of a bird to the characteristics of an illustrator. 

From what I said, anthropomorphism can be used as metaphors to assign the qualities of human personalities or various social class/groups, however the term 'Anthropomorphism', or 'Anthropomorphised does not mean it is used exclusively for animals. While the term means an attribution of human form and characteristics, it is also used to display, as quoted from TV Tropes on Anthropomorphic personification, "(2) the embodiment of a fundamental abstraction". 

Quoted from another source, ‘The Poetics of Personification’ “(3) Personification consists of representing a absent person as present, or in making a mute thing or one lacking from articulate, and attributing to it a definite form and a language of certain behaviour appropriate to its character. Personification may be applied to variety of things, mute and inanimate.” 

This can be said for the anthropomorphic personification of “Death” or the “Seven Deadly Sins” whose personification are somewhat connected to their name. “Death” having only one purpose who is depicted as a skeleton (to bring death) and the “Seven Deadly sins” whose classic interpretations, as quoted from the article of the Seven Deadly Sins in TV tropes, are “(4) typically personified as practicing the sin: A Narcoleptic, a Big Eater, a Kleptomaniac, a Green-Eyed Monster, a Miles Gloriosus, Mr. or Ms. Fanservice and a Berserker”. 

 

One of the early depictions of “Death” in recorded history.

References

(1) BBC, Inside Out, 2005

(2) TV Tropes, Anthropomorphic personification

(3) Paxson, 1994

(4) TV Tropes, Seven Deadly Sins

Bibliography

BBC, Inside Out, 2005, the Animals of the Wind in the Willows. [Online] [Accessed: 16^th March 2015] Available from: http://www.bbc.co.uk/insideout/southwest/series7/wind_in_willows.shtml

Paxson, James J. (1994). The Poetics of Personification. Cambridge, Press Syndicate of the University of Cambridge.

TV Tropes. Anthropomorphic Personification [Online] [Accessed: 16^th March 2015] Available from: http://tvtropes.org/pmwiki/pmwiki.php/Main/AnthropomorphicPersonification

TV Tropes. Seven Deadly Sins [Online] [Accessed: 17^th March 2015] Available from: http://tvtropes.org/pmwiki/pmwiki.php/Main/SevenDeadlySins

Characters and Archetypes

Characters. We all know that there are many archetypal characters that we are all familiar, i.e. the Hero and the Villain, who are the main driving force that progress the story, including supporting characters, i.e. the sidekick, the adviser/helper/mentor, the anti-hero, etc. We always see them in every visual culture in media entertainment within works of fiction and illustrations within comics, graphic novels, games and film, as quoted from TV Tropes on the topic of Archetype “(1) An archetype is a universal theme, story or character which is so fundamental that, regardless of how many times it is used (or misused), it never becomes stale, dated or Cliché.”

Here are small rough drawings I quickly made up for a villain (left) and an arc villain (right).

Both follow the typical villain archetype where the ‘final boss’ seeks dominance and power, is depicted as a ‘classic’ villain and being a representation of a particular sin that most villains often follow, such as Greed or Wrath, while the ‘arc’ villain, who is considered as a boss for certain amount of time, sets up the plot further which will conclude with the main villain.  This is to showcase that they both follow the ‘villain’ archetype, but they are broken down into sub archetypes within that main archetype.

It can be sometimes difficult for one were to illustrate the character’s persona unless, or until, it was given an origin story that will feed spoon the audience the information needed to understand what makes these characters who they are, especially if there’s more to it than just being a hero or the villain, like having certain attributes or characteristics that drives them to be that particular type of character, which usually ties heavily to the story, thus making them feel more grounded with their personas and motivations towards the audience.

This can be said for all, if not, most archetypal characters, as each archetypes bears several different traits from within, in other words, portrayals of the character role, as such examples quoted from TV tropes, the ‘Byronic Hero’ “(2) A very cerebral character; he broods over his struggles and beliefs. Some are portrayed with a suggestion of dark crimes or tragedies in their past.” And the other, the ‘Classic Anti Hero’ as “(3) A dashing, confident, stoic, intelligent, highly capable fighter and commander with few, if any, flaws and even fewer real weaknesses.” Both of these traits or portrayals are different, but they all follow the same principles of the character role of a Hero, usually driven and built upon from the story itself.

References

(1) Archetype, TV Tropes

(2) Byronic Hero, TV Tropes

(3) Classic Anti Hero, TV Tropes

Bibliography

TV Tropes, Archetype [Online] [Accessed: 16^th March 2015] Available from: http://tvtropes.org/pmwiki/pmwiki.php/Main/Archetype

TV Tropes, Byronic Hero [Online] [Accessed: 20^th March 2015] Available from: http://tvtropes.org/pmwiki/pmwiki.php/Main/ByronicHero

TV Tropes, Classic Anti Hero [Online] [Accessed: 20^th March 2015] Available from: http://tvtropes.org/pmwiki/pmwiki.php/Main/ClassicalAntihero