Visual media design is one of the research areas of industrial design that has developed rapidly in recent years. Visual media design unique visual space and mental space performance technology, to enhance the experience of past experience to the virtual reality experience, its purpose is to first accurately convey the information content through the visual image - from the designer's point of view, The visual image has other ways of transmitting information. There is no natural advantage: From the perspective of the audience, the degree of acceptance of information by the audience around the visual psychology and the attention of the visual factors at the design stage can often have a multiplier effect.
1. Visual media needs visual thinking
The same as the basic research concept of industrial design, visual media design is based on the human-centered medium object research. The difference is that there are many factors that make up the visual media's overall effect. The degree of emotional response of people to media works often affects the information in the media. The way in which the work is spread and the effect of the spread. In this sense, the emotional orientation of people in visual media works has become an important content that cannot be ignored in media design.
Human visual activity is an active activity. Vision is highly selective. It not only selects those that can appeal to it, but also selects anything that you see. And this produces different psychological effects. We call this process a visual thinking process. Visual thinking is also called aesthetic intuition psychology. It was first proposed by American psychologist Rudolph Arnheim and others. Thinking activity is the process of reprocessing the finished product of the perceptual activity [1]. Due to the visual thinking, it focuses on the “rational function of the visual organ system in sensing external things, and the visual imagery in the general thinking activity. The role "[2], and visual thinking stems from the perception of objective images, which is carried out in the direct communication between the subject and the object. This is inherently exploratory. At the same time, it also has the flexibility to use visual images to facilitate the use of imagination. Sexuality is done through direct object imagery or by simulating the “image†symbol, which has the reality of facilitating intuitive or induced intuition. Therefore, visual thinking helps the subject to understand and grasp the object to provide a broad creative space.
2. What is visual thinking
Psychologists have done such an interesting experiment: cut 15-20 paintings from magazines, are interesting characters or landscapes, cut out the explanatory texts; then cut a considerable number of advertisement words from other places. Or phrases, flipping pictures and texts over and randomly arranging each picture with a text, then flipping the picture and text against the ground, surprisingly finds that almost half of the paintings and words can be matched in meaning. In pairs.
This phenomenon shows that people always explain the outside world, that is, the premise of trying to “read†things is that they must be able to relate to existing experiences. This kind of experience does not merely represent people's own experience. It should include experience derived from reasoning and the knowledge system formed by others' accumulation and experience. People always try to relate the visual form they see to some previous experience. When you come across a “understand†form, if someone explains what it is, it actually helps you connect the existing experience with the visual form in front of you, and you “read through†the picture, although You may not fully agree with his explanation. In fact, this is where your visual thinking works.
3. Visual thinking and visual communication audience psychology
Audience psychology is related to the perceptual features that are unique to vision itself.
Visual perception "shape" depends on "difference". For example, vision can grasp the form, depth, and displacement of an object by the relative volume, brightness, and movement of the object at different angles. The time of the visual perception of the object is related to the speed of presentation of the object. The film projection is actually the rolling of the film with 24 frames per second, and the visual images temporarily stored in the mind can produce continuous images in the mind. Visual also has the instinct to categorize, visually summing together the same things, including things that are similar in size, similar in shape, similar in lightness or color, similar in location, similar in spatial orientation, similar in direction, and similar in speed.
Gestalt Psychology believes that people's perceptions have a tendency to simplify. When they see more symmetrical and regular graphics, they will have a sense of satisfaction visually. On the contrary, they will try to turn the “imperfect†graphics into “perfect†graphics. This is called "final strengthening." Audiences have different emotional responses to different “shapes†of viewing, which is an important factor that visual media design cannot ignore. The pursuit of simple "shape" is, in the final analysis, to facilitate the audience to grasp the outside world information, and to see a simple "shape" part of the characteristics, we can foresee the characteristics of the entire whole, and the time for searching information is shortened. However, simple shapes and complex shapes are difficult to compare in the aesthetic sense which is more advantageous. The simple shape makes us happy and comfortable, while the non-simple shape attracts attention because of nervousness. “Ultimately we must be able to explain one of the most basic facts about aesthetic experience, namely that aesthetic pleasure comes from viewing a group that is somewhere between tedious and cluttered. Monotonous patterns are difficult to attract people’s attention. Overly complex patterns are Will make our perception overload and stop viewing them."[3] The design uses "incomplete" visual graphics, or some visual image as the main body, and sometimes it can improve viewers' interest in participating. The role of the company is deeply impressed by its curiosity about the "deformation" of deciphering.
4. Visual psychological perception of the audience in the visual media
Although visual media designers cannot completely influence the audience's psychological feelings, they can still use the inertia of visual innateness to guide viewers to unconsciously watch according to the designer's expectations. During the viewing process, there is a certain order. This kind of program is not the order of the top, bottom, left, right, left, right. Without too much outside interference, the vision always grasps the object's blurred and overall image first, and then selects the desired place according to the need. .
From the perspective of visual physiology, people's eyeballs often jump rapidly and have a short pause between beats. When the eyeball beats, they do not absorb information. Only when the line of sight stays at a certain point can the message be accepted. Watching does not scan the visual object smoothly. It is jumping from one gaze point to another, so as to receive information, watching occurs at the gaze point, not at the moment of jumping. What the design has to do is to define a part of the finished product or finished product as the starting point for viewers to pay attention first. Many factors can play a role in inducing the audience's visual psychology, like invisible instructional clues that attract the attention of the audience. Such instructions include:
1) Functional induction
White traffic signs printed on the road will have arrows indicating different directions. Such a traffic sign is the most typical type of functional induction. Print publications rely on color and graphic layout to determine the visual order. This is why we can easily find the headline information of the press.
2) Sensual psychological induction
The reason why the audience recognizes a certain visual communication product is to a large extent the emotional factors behind it. In visual media design, visual images with rich affinity and appeal are more likely to create a visual environment to persuade the audience to accept information.
The film theorist Eve Pilo's statement is: "We do not know what we see. On the contrary: we know what we will see." "Any perception will be corrected by our existing knowledge. The visual field is generated on our retina. It comes from a constantly changing light and shadow structure. Starting from these light and shadow structures, we create our own visual world."[4] The red sorghum and green sorghum in Red Sorghum. Land, passionate love, rugged northwestern style music, the film glowed unprecedented glory, full of visual impact and image modeling, harmonious music composition of the viewing space, just like Evet leather Luo stated that "becoming an extendable stage that permeates the imagination of mythical passions" "implies a realm of poetry, an independent thought that is independent of story clues."
5 Conclusion
Visual media design is a design art that uses all techniques that can generate visual images to disseminate information. No matter which visual form is adopted, the audience must eventually receive information through visual perception. The effect of different visual forms on visual perception of viewers is Subtle and interesting, visual thinking intersects throughout the visual media design process. Using visual imagery thinking, we are more inclined to perceptual intuition rather than logical reasoning, and at the same time cater to the perceptual psychology of post-modern audiences. Audiences are willing to accept designs that allow them to feel happy, interesting, and stimulating. Designers use visual images to express their emotions. Successful visual media design works are visual images that both parties can participate in and communicate.
(Donghua University, Gu Lili, Wang Junmin)
Source: Shanghai Packaging