Peak shift principle

I found it interesting how the authors brought up the example of a chick and a red beak as a comparison to how humans interact to art. Even if there isn’t a physical resemblance to the original object, the same neurological circuits are activated by art that captures and represent an exaggerated version of the object. The mention of caricatures made me think back to the McCloud readings, where he described how we have no trouble recognizing very abstract or exaggerated version of faces. I found it interesting how the authors went one step further and argued that caricatures have even more “faceness” to our brains because of their heightened characteristics.

Perceptual Grouping

This principle made me think back to the examples of Gestalt principles. I liked how the authors expanded the principle to other dimensions of visual design such as “color space” and “motion space” and described how Gestalt principles work in more than one dimensions. For instance, two colors that are close in color space will be grouped together in the same way that two similar shapes will be grouped together. It made me think of visual design elements as lying in a multidimensional space with overlapping connections.

Symmetry

This principle was also discussed in the Dondis readings, so I was interested to see how the authors interpreted it similarly or differently. They linked the visual appeal of symmetry to biological roots, arguing that reaction to symmetry is an innate response. I found it interesting how the authors stated we are biologically attracted to symmetry as a sign of good health. It made me think of psychology experiments where people were unnerved by perfectly symmetrical faces and preferred faces with slight asymmetry instead. Since almost every human face bears some asymmetry, it made me wonder if there is an “ideal” level of symmetry that is most pleasing to the human eye.