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The Gestalt theory of form and

The theory of form named after a German school (Berlin School) in the '20s that changed the development of psychology.
Setting this school, in fact, opposed to the dominant between the late 800 and early 900 called "associational" because believed that the perception of an object was the result of the combination of different sensory elements.
The birth of Gestalt psychology (usually translated as "form", "structure"). goes back exactly to 1912, when Max Wertheimer wrote an article that identified a single perceptual process by which individual stimuli would be integrated into the subject, in a form with continuity.
This meant that what had previously been considered a passive process - perceiving - came to be thought of as something far more active as an asset subject to certain general principles of organization.
The perception thus depends on the elements but not the structure of these elements in an "organized body" in a "Gestalt " The manner in which they are the forms have been classified and described as "laws of form" and have listed by Wertheimer in 1923 as follows:


Law of proximity:
elements of the perceptual field are merged into forms with a lot more cohesion, the lower is the distance between them.
Faced with a set of figures, although different, they do not see forms but feel isolated groups of different elements.

Law of equality or similarity :
in a picture with many elements, these are merged into forms with all the greater cohesion, the greater is their similarity.
The perceptual system groups elements based on a multiple parameters such as shape, color, size, proportion, pattern, direction etc..

Law of common fate:
the elements that have a movement of solidarity with one another, and different from that of the other elements are merged into shapes.
In a configuration tends to unify the lines with the same direction or orientation, or movement, according to the course more consistent in defense of the simplest forms and more balanced.

Law of closed form:
lines which form closed figures tend to be viewed as a formal unit.
The perceptual system is designed to provide additional information to close a figure, so we tend to close an open figure that seems incomplete or aborted.

Law of continuity of the form or direction:
a number of elements placed one after the other, are united in their forms according to the continuity of leadership. Figure
perceive as a unit and not AB and XY and AY XB, or AX and YB.

Law of pregnancy:
the form that is so much "good" as the given conditions permit.
In practice what fundamentally determines the appearance of form is the characteristic of "significance" or "good form" on which they possessed: the more regular, symmetrical, cohesive, consistent, balanced, simple, concise they are, the greater the likely have to impose itself on our perception.

Law of past experience:
elements for our past experience are usually associated with each other tend to be combined into shapes.
An observer who does not know our alphabet can not see the letter E in the three broken lines.


Law of Symmetry:
elements arranged symmetrically with respect to an axis or a point will be read by our perceptual system as a unit

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composition.

The composition is the term used to describe the graphical representation of one or more objects.
The creation of a composition can be divided into phases:
observation: the paper on which it works is divided into four parts by drawing two lines passing through the center of the paper, both in height and width. The makeup must always start from the center of the sheet and then spread throughout the space required. The sighting
: Using a pencil, a pen or, after having acquired a certain skill, with the finger moves you want to finish what they represent. The sighting is turning a blind eye and looking through the development of composozione pencil, (the height of the composition tends to be more dynamic, and if the development is horizontal with a sense of stillness) is necessary to close one eye and then to lose the three-dimensional to see more simple geometric shapes. Sighting may also take measures by sliding your thumb on the pencil to the paper then put them in proportion. The schematic
: After drawing the lines that determine the center of the sheet and after finishing line can begin to represent the first figures that will be primarily represented as simple two-dimensional geometric figures. This serves to center the composition and understand how best to proportion all the objects that make up the composition.
Reference lines : After the schematic you draw lines that serve to define the exact form, this is done by observing the gap between a figure and the other, in fact in the blanks when combined form a geometric figure that if represented may provide part of the sides of the figures represented. The Chiaroscuro
or Dashes : After dialing any design to give a sense of depth to the composition may be applied the shadows with a pencil, or the entire outline "the work" in pen.

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Color 6 - The hard color by Johannes Itten Color

Johannes Itten (1888 - 1967) painter, designer and writer who was part of the Swiss school of the Bauhaus.
His best known work, The Art of Color, is a real guide for anyone working with the world of colors and their combinations.
The text is rich in illustrative tables represents the colors and their various combinations (colors hot / cold, the various gradations of color, complementary colors, etc.).
Having obtained the seven colors from the breakdown of white light in a circular shape in this way we get a hard color. "

The colors are employed irreversible and follow each other in the order of the rainbow and the spectrum.
Those inside the central triangle (yellow / blue / red) are the primary colors, primary colors make other colors associated with each such secondary (those that form the hexagon). All colors that are within the circle of the twelve sections are the sum of all other colors and are on the opposite side of the diameter (eg red and green) are called complementary colors, ie those which have the greatest contrast between them.

The main work of Johannes Itten (1888 - 1967) The Art of Color is the so-called chromatic disc. In this disc in the center are the three primary colors: red, blue and yellow. The triangles that form the sides of the central triangle, containing the primary colors. The triangles, which form the sides of the hexagon, contain secondary colors, orange, purple and green derived from the union of the primaries.

In the outer circle are 12 sectors in which they placed the primary colors, secondary, according to the colors.

Complementary colors are those in which the contrast (light-dark hot-cold) is the opposite.

Complementary colors are opposites then (green-red, purple, yellow, orange and blue).

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5 - The light and the solar spectrum

The discovery of the correlation between light and color is attributed to the scholar Isaac Newton.All 'age of 23 he became fascinated by the passage of a beam of light through a prism of glass. He noted that the prism not only light but deviavala decomposed into a set of colors.
They were the same colors of the rainbow: red orange yellow green blue indigo violet

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Color 4 - Optical illusions due to the contrast color

The color surrounding an object changes the perception of object color stesso.Si has a bright contrast when one color to another color is combined with varying degrees of brightness

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3 - The color attributes


Hue Saturation Brightness


The white, gray and black are achromatic because they have defined the attributes of hue and saturation

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2 Color - The color physics

physics tells us that the color could not exist without light.
Everything is illuminated, in fact, returns a portion of the light received.
Our eyes are able to receive the light emitted by objects and encoding it so the form, the ratio of light and dark and color.
These codes are then sent through the nerve optical to the brain which processes and allows us to state that a given object is of a certain color.
See the color is then a feeling, just as taste of food or listen to a sound.

Everything is illuminated returns part of the incoming light and produces in us the perception of color.
In fact, the light is just electromagnetic energy only visible when you run into any matter: energy is then made visible by its different way of being re-issued after interacting with matter.
In the light we can distinguish a unit energy called photons.
When an object is illuminated, in our example the tomato, the photons that are beginning to invest interact with the electrons that make up the matter. The electrons try to "shake off" the energy they have received from other photon emitting photons, which travel at certain wavelengths.

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Color 1 - color perception

physics tells us that the color could not exist without light.
Everything is illuminated, in fact, returns a portion of the light received. Our eyes are able to receive the light emitted by objects and encoding it so the form, the ratio of light and dark and color.
These codes are then sent through the optic nerve to the brain which processes and allows us to state that a given object is of a certain color.
See the color is then a feeling, just as taste of food or listen to a sound.
And because it is a feeling, a vision of a certain color changes from person to person. In fact there is a color that is perceived in an identical manner by two separate persons.

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observing the performance. Methods and techniques

.
The composition, language arts, indicates the location of items within a field of view.
The design is the process of tracking marks on a surface by applying pressure or dragging on the surface of an instrument.

Osservazione
Per rappresentare una composizione, prima di tutto si suddivide il foglio con due assi perpendicolari passanti per il centro dello stesso su cui si sta lavorando.

Traguardazione
Fatto ciò, traguardiamo la composizione aiutandoci con una matita per individuare lo sviluppo della composizione se è orizzontale o verticale in modo da posizionare adeguatamente il foglio in relazione a ciò che ci apprestiamo a disegnare.
Stendendo il braccio verso la composizione e facendo scorrere il pollice sulla matita calcoliamo la misura che va dall'estremo più alto sino al punto più basso della composizione e/o dall'estremo a sinistra fino all'estremo a destra;
comparing the two measures will understand the development of horizontal or vertical composition, and then we can decide how to position the media, paper, canvas or another, on which we will operate.

Schematic
the schematic represent the objects that make up the composition drawing them as flat geometrical figures which can be squares, rectangles, etc. .. and therefore have only two dimensions, the width and atezza. This helps us better understand how much space do and how we can better center them on the sheet.
(Valentina)


reference lines to correct the composition of the thin lines are drawn, linee di riferimento , tangenti gli oggetti o le forme che stiamo rappresentando; si otterranno così delle nuove forme con gli spazi 'vuoti', i quali serviranno a ridefinire la giusta forma delle figure della composizione.

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The dotted

Vector image created with Inkscape by Laura Tolu

II hatching, parallel and cross, is used for centuries as a means to define the shape and texture in a drawing monochrome. In parallel dashed lines running precisely parallel to each other and in cross-hatching instead intersect to form a thin "screen" tone. With simple
vary the number and the distance between the lines you can get a huge range of tones, ranging from very dark to lighter. However, since the white paper was never deleted entirely, maintains a light tone which is one of the advantages of the technique. The lines themselves can also communicate energy and movement, especially when they run in different directions following the contours of the subject and describing its shape and volume.

The effect will be determined by the type of pencil used (hard or soft) as the shape that you take the tip, the type of paper as the degree of pressure that will be exercised, and finally the character of lines, depending which are strictly controlled and summary that is free. In this area of \u200b\u200bwork, for example, the artist has worked on large drawing paper hot press, smooth surface on which the thin pencil lines appear crisp and clean.

The technique of hatching takes time and requires a patient and methodical, but it gives a lot of satisfaction. It is important to add the features gradually until it reaches the desired intensity of tone. If tone escalates over too soon, the finished design may appear dark and heavy, so it is necessary to be patient when building shadows.

With this type of design is essential shaded constant reference to the subject, looking carefully at the shadows and evaluating each tone in relation to the next tone. Try to develop the design as a whole, gradually bringing the tone of the various parts of the composition in line gli uni con gli altri mentre si lavora.

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The Chiaroscuro



Immagine realizzata a matite colorate da Elisa Macis

 In arte, gli effetti di luce e ombra di un dipinto o di un disegno, sia monocromo che a colori. Il termine, che viene utilizzato nella forma italiana anche in altre lingue, deriva dai due aggettivi 'chiaro' e 'oscuro' e fa riferimento alla tecnica che tende a contrapporre aree molto illuminate ad altre profondamente ombreggiate.
L'abile utilizzo di luci e ombre (talvolta definite valori tonali) al fine di produrre effetti particolari è una caratteristica the works of sixteenth-century masters like Leonardo da Vinci (the creator of the 'gradient') and Raphael, and great seventeenth-century Baroque artists such as Caravaggio, Georges de La Tour and, above all, Rembrandt. The chiaroscuro technique is almost never present in non-Western arts or in the pre-Renaissance European.

"Chiaroscuro," Microsoft ® Encarta ® Online Encyclopedia 2008
http://it.encarta.msn.com © 1997-2008 Microsoft Corporation. All rights reserved.