Nonverbal Cues in Visual Communication
Haptics - Tactile
Kinesics - Movement
Physical Indicators of Escalation
The carotid artery, the main blood vessel that courses through the neck, can display a heavy and escalated heart rate. As anxiety increases, so does blood pressure and heart rate, and often this can manifest in the neck through careful observation.
Other indications of elevated blood pressure can be found in the temples. The discerning observer will look beyond upper manifestations to find a pulse rhythm in the dangling foot of a leg crossed over the other at the knee, a good point to get a pulse baseline without being intrusive.
Escalated respiratory rates can result in hypoventilation, not being able to blow off accumulated carbon dioxide. This may result in pursed lip breathing, heavy sighing, yawning.
Face touching, scratching, behind the ear and the back of neck can indicate an adrenal dump, escalation in anxiety resulting in a flight or fight response. A side effect of this is itching about the face and neck causing the target to unwittingly scratch as an adaptor.
More prevalent in women than men is the rupturing of tiny capillaries, starting in the skin of the chest and working its way up to and through the neck, the result of a pounding heart.
Psychological Manifestations
When the mind is in dissonance, the body can make this manifest through various tells:
Diminishing - Gesturing becomes smaller, limited range of expression with hands and arms.
Detachment - Emotional responses are delayed, separated from their verbal expression.
Delight - Pleasure tells expressed after disclosure of trauma.
Disconnection - Expression in the eyes doesn't match expression in the mouth.
Direction - The feet tell where the body wants to go.
Oculesics: Eye Behavior
Blinking
Blink rates can indicate escalated anxiety or controlled contempt and a range of emotions in between. Normal blink rates range from two to ten times a minute depending on relative humidity and eye moisture. Blink rates decrease when the eye is engaged in reading or watching a screen, down to 3 to 4 times a minute.
A blink rate baseline can be derived by counting blinks per minute at resting or unescalated levels. More accurate blink rates are determined over a period of time, averaging blink rates from at least a half dozen samples.
Increased blink rates in a subject can be a result of escalated anxiety, emotion, or result from excessive eye movement. Decreased rates stem more from the alpha-male stare, the inherent decoy from being detected in a lie or escalation.
Movement
Excessive or dormant eye movement beyond an established baseline can indicate escalation.
Micro Expressions
This discovery of non-verbal human tells is from Dr. Paul Eckman. It was upon his research the show Lie to Me was based.
The concept is that while we may be feeling a base emotion, we may be simultaneously masking that emotion. Think of the powerful influence of manners, or just being nice. Eckman asserts, though, that true emotions can punch through the patina of being nice, or stoic, or feigning interest. These flashes of truth are called micro expressions because they often happen in one thirtieth of a second.
Unlike language used to express emotions, micro expressions are universal regardless the culture. In fact, Eckman's research discovered that primates and other mammals have universal signals for emotion. For humans these emotions are identified as happiness, sadness, fear, anger, surprise disgust and contempt.
Take a look at these expressions from some of my interns:
See if you can identify them.
Chances are you went...
Happy
Sad
Surprise
Disgust
Anger
Contempt
...and you did so based on your inherent ability to identify these emotions. Most of us can. It's when these fly by you at less than half a second when this gets difficult to identify.
What can help is establishing a baseline, or a neutral, like these:
While it's tough to be completely void of emotion, like some of these students, the neutral expression is a reference for the observer to use in identifying other micro expression.
In threat assessment, of all these micro expressions, the one to be most concerned with is not anger,
...it's this one, contempt.
Of all the micro expressions this is the only asymmetrical display. It's defining characteristic - the curled lip raised to one side, the eyes vacant in expression.
Contempt is an evacuation of conscience. When one is evaluated in contempt, their value ceases. When one is contemptuous they're above the obligation of morality, superior to their subject, perpetuated by thoughts that do not consider their subject's value. Contempt can breed vengeance, an escalated emotion common to threatening behavior.
Kinesics - Movement
- Emblems
- Illustrators
- Regulators
- Adaptors
- Affect Displays
- Eye Movement
- Lids
- Pupil Dilation
- Artifactual
- Territorial
- Spatial
Physical Indicators of Escalation
The carotid artery, the main blood vessel that courses through the neck, can display a heavy and escalated heart rate. As anxiety increases, so does blood pressure and heart rate, and often this can manifest in the neck through careful observation.
Other indications of elevated blood pressure can be found in the temples. The discerning observer will look beyond upper manifestations to find a pulse rhythm in the dangling foot of a leg crossed over the other at the knee, a good point to get a pulse baseline without being intrusive.
Escalated respiratory rates can result in hypoventilation, not being able to blow off accumulated carbon dioxide. This may result in pursed lip breathing, heavy sighing, yawning.
Face touching, scratching, behind the ear and the back of neck can indicate an adrenal dump, escalation in anxiety resulting in a flight or fight response. A side effect of this is itching about the face and neck causing the target to unwittingly scratch as an adaptor.
More prevalent in women than men is the rupturing of tiny capillaries, starting in the skin of the chest and working its way up to and through the neck, the result of a pounding heart.
Psychological Manifestations
When the mind is in dissonance, the body can make this manifest through various tells:
Diminishing - Gesturing becomes smaller, limited range of expression with hands and arms.
Detachment - Emotional responses are delayed, separated from their verbal expression.
Delight - Pleasure tells expressed after disclosure of trauma.
Disconnection - Expression in the eyes doesn't match expression in the mouth.
Direction - The feet tell where the body wants to go.
Oculesics: Eye Behavior
Blinking
Blink rates can indicate escalated anxiety or controlled contempt and a range of emotions in between. Normal blink rates range from two to ten times a minute depending on relative humidity and eye moisture. Blink rates decrease when the eye is engaged in reading or watching a screen, down to 3 to 4 times a minute.
A blink rate baseline can be derived by counting blinks per minute at resting or unescalated levels. More accurate blink rates are determined over a period of time, averaging blink rates from at least a half dozen samples.
Increased blink rates in a subject can be a result of escalated anxiety, emotion, or result from excessive eye movement. Decreased rates stem more from the alpha-male stare, the inherent decoy from being detected in a lie or escalation.
Movement
Excessive or dormant eye movement beyond an established baseline can indicate escalation.
Micro Expressions
This discovery of non-verbal human tells is from Dr. Paul Eckman. It was upon his research the show Lie to Me was based.
The concept is that while we may be feeling a base emotion, we may be simultaneously masking that emotion. Think of the powerful influence of manners, or just being nice. Eckman asserts, though, that true emotions can punch through the patina of being nice, or stoic, or feigning interest. These flashes of truth are called micro expressions because they often happen in one thirtieth of a second.
Unlike language used to express emotions, micro expressions are universal regardless the culture. In fact, Eckman's research discovered that primates and other mammals have universal signals for emotion. For humans these emotions are identified as happiness, sadness, fear, anger, surprise disgust and contempt.
Take a look at these expressions from some of my interns:
See if you can identify them.
Chances are you went...
Happy
Sad
Surprise
Disgust
Anger
Contempt
...and you did so based on your inherent ability to identify these emotions. Most of us can. It's when these fly by you at less than half a second when this gets difficult to identify.
What can help is establishing a baseline, or a neutral, like these:
While it's tough to be completely void of emotion, like some of these students, the neutral expression is a reference for the observer to use in identifying other micro expression.
In threat assessment, of all these micro expressions, the one to be most concerned with is not anger,
...it's not disgust,
...it's this one, contempt.
Of all the micro expressions this is the only asymmetrical display. It's defining characteristic - the curled lip raised to one side, the eyes vacant in expression.
Contempt is an evacuation of conscience. When one is evaluated in contempt, their value ceases. When one is contemptuous they're above the obligation of morality, superior to their subject, perpetuated by thoughts that do not consider their subject's value. Contempt can breed vengeance, an escalated emotion common to threatening behavior.
Still Composition
10 Composition Tips with Award-Winning Photographer Steve McCurry!www.artFido.com/popular-art
Posted by artFido - fetching art on Saturday, March 21, 2015
The Rule of Thirds
The Rule of Thirds is based on the idea that the human eye is naturally drawn to a point that follows the suggestion of the golden mean. Superimpose a tic-tac-toe grid on most aspect ratios and you might be surprised how many compositions follow this basic influence on photographic composition, visual design. See where the strongest and most contrasting points fall on the intersecting lines of that grid, creating movement through the frame.
At the Dam Cafe at Hoover Dam are these umbrellas, stainless steel structures that provide shade for the Dam tourists. The intricacies of the umbrella structure and morays induced by the patterns of the holes in the canopy inspired this shot.
If the area of interest is land or water, the horizon line will usually be two-thirds up from the bottom. Alternately, if the sky is the area of emphasis, the horizon line may be one-third up from the bottom, leaving the sky to take up the top two-thirds of the picture.
Faces lend themselves to the golden rule, unique compositions in and of themselves, but frame them under the same compositional influences using thirds and the images breathe. Imagine if each of these were framed dead-center, static.
Daniel and Lindsey flirt a bit with the frame that is closest their faces. For Daniel it's camera-right and Lindsey camera-left. Thirds force them to the frame which induces a bit of bounce back with their eyes, taking your eyes into the frame, for Daniel from left to fight and for Lindsey just the opposite.
Amber's composition exploits the thirds rule as well, but the energy here is more riveting on her eyes by the placement and the lack of influence of the frame. There is no ricochet like the two above, so framed due to a number of factors; the sub-composition of the contrast of her hair against her hoodie against the background, and the remarkable agreement between her eyes and her smile.
I don't recognize these influences during the shoot. It's more a matter of trusting the movement of my own eye in the viewfinder and the subtle adjustment of the film plane to capture something that communicates.
The Diagonal Rule
This establish of the Dam Cafe sends the eye on a z axis through the frame via the strong vertical lines of the railing.
Vectors
Indications of direction are considered to be vectors and can be categorized into graphic, motion, and index vectors.
Graphic vectors have a strong sense of direction such as strong architectural angles of a building or lines painted on a roadway surface. These vectors encourage eye movement through the frame along the vector line.
The diagonal graphic lines etched in the walls of this slot canyon force the z-axis attraction.
The motion vector of the car above points to space for it to move into, giving it a psychological sense of balance, space and momentum.
The motion vector of this here leads the car right into the frame creating a sense of trapping or nowhere to go.
Capiche?
Once you're in your groups, click on this link that shows a take from a shoot at the Mountain Meadows. Select shots that represent the compositional influences discussed, including the rule of thirds, the diagonal rule and vectors, then justify your selection to your peers.
Mis-en-Scene (Updated)
Mis-en-Scene is a French expression used in the study of film that refers to everything that appears within the frame of the camera to tell the story. This includes all art, like scene design and construction, makeup and wardrobe, illumination, even action within the scene.
For this assignment, select a scene/sequence from a film such as the one depicted above from The Martian.
For example, there's much that comes into play to pull this off, from creating the physical context of the greenhouse within a Martian observation station, including the dirt, furrows and potato plants, the clear plastic, the background behind the plastic, the source of illumination, the actor's placement with the composition, even the the focal length of the wide angle lens from the GoPro camera from which this was shot. All the elements are here: contrast, balance, harmony, texture, line, shape, color, figure/ground, pragnanz, proximity, similarity and closure. Who were the designers and what did they have to do to pull this off? This is what I'm asking you to do with your selected scene.
Decide which production design role you wish to analyze within this scene for this assignment - director, director of photography, art director, production designer, makeup/wardrobe. Break the scene down in terms of production design, identifying the artists involved in the credits for your selected film. Looking this up on IMDB.com will be very helpful for you.
Define the stewardship of the role you selected, their job description for your selected film and sequence, and identify which, if any, previous roles contributed to the execution of the scene and how they reached visual communication objectives in terms of design principles. (These principles include both the vocabulary and grammar of design along with Gestalt influences.)
Post your analysis on your blog with either a frame from the scene or an embedded clip, along with the production's credits for production design, art direction and principle photography.
Conclude with your individual analysis of how these elements effectively came together.
Have your Mis-en-Scene posted to your blog by class time, November 10th if the world hasn't ended, and be ready to present to the class.
Read your peers' posts and comment as well.
Read your peers' posts and comment as well.
Assessment One
Respond to the fifty items below, recording your answers on a Scantron form. Turn your responses in no later than the beginning of class, Tuesday, February 28th. No tests will be accepted after that time.
COMM 3560 Visual Communication
Assessment One
1. All communication exists within context. Visual communication that depicts an immanent danger creating fear or anxiety is a communication affect in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
2. Richard Seymour shows his audience a simple drawing made by a little girl. He then explains that the drawing is her last act during her life. With this new information, his audience experiences a significant shift in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
3. HBO's Voyeur website turns the user into a voyeur, playing with their __________ context.
A. creepy
B. social
C. psychological
D. temporal
E. cultural
4. In the vocabulary of design, line
A. is an identifiable path created by a point moving in space.
B. refers to a feeling of depth or three dimensions.
C. gives a visual sense of how an object depicted would feel in real life if touched.
D. can be seen from more than one side.
5. Lines define
A. shape.
B. texture.
C. form.
D. space.
6. Lines lead your eye around the composition and can communicate information through their character and direction.
A. True
B. False
7. Shape and form
A. refer to a feeling of depth or three dimensions.
B. give a visual sense of how an object depicted would feel in real life if touched.
C. are an identifiable path created by a point moving in space.
D. define objects in space.
8. Shapes have ________ dimensions where forms exist in _________.
A. two, three
B. three, two
C. one, two
D. two, one
E. None of the above.
9. Forms are defined by height, width,
A. and shading.
B. and depth.
C. texture, and shading.
D. and texture.
10. The area around the primary objects in a work of art is known as ________ space, while the space occupied by the primary objects is known as _________ space.
A. positive, negative
B. shape, form
C. negative, positive
D. light, shadow
11. The perfect illusion of three-dimensional space in a two-dimensional image is achieved through diagonal lines diminishing to a point.
A. True
B. False
12. Color is defined by
A. pigmentation.
B. complimentary and polarized chroma.
C. light reflected off objects.
D. primary hues.
13. Value describes the ________ of color.
A. brightness
B. chrominance
C. saturation
D. dullness
E. Both A and B.
14. Intensity describes the _______ of color.
A. purity
B. mood
C. shade
D. strength
E. Both A and D.
15. The surface quality of an object.
A. Line
B. Space
C. Shadow
D. Texture
E. Form
16. “Contrast is important because the meaningful essence of any thing is defined by its value, properties, or quality relative to something else.” Rutledge's statement could be summarized as:
A. Everything has meaning by itself.
B. Nothing has meaning by itself.
17. Light and shadow are elements of contrast in photography. Which of the following primary forms of contrast are elements in layout or web page design?
A. Order
B. Orientation
C. Line
D. Shape
E. Both B and D.
18. According to Rutledge, "The rules of artistry (and therefore design)
A. are open to the interpretation of the designer."
B. are inviolate and unchanging."
C. are meant to be broken."
D. result in poor art and poor design."
19. The function of contrast in defining meaning can be explained by comparing fundamental __________.
A. differences
B. similarities
C. opposites
D. philosophies
20. The micro-expression of contempt is an indication
A. of a baseline.
B. of sympathy.
C. of an evacuation of conscience.
D. of empathy.
21. Non-verbal visual elements include kinesics, a subset of which are Emblems,
A. cultural symbols that can be directly translated into words.
B. which are used to illustrate a point.
C. signifiers indicative of emotional escalation.
D. used to control the flow of verbal communication.
22. ________ is the only micro-expression that is characteristically asymmetrical.
A. Surprise
B. Anger
C. Contempt
D. Disgust
E. Joy
23. The Gestalt principle of figure/ground relationships means that elements in design are perceived as
A. highlight or shadow.
B. form or shape.
C. foreground or background
D. chromo or luminance
24. In describing Gestalt theory, we discussed the idea of non-summativity, meaning
A. that the sum of the parts is greater than the whole.
B. that the sum of the parts is equal to the whole.
C. that the sum of the parts is less than the whole.
D. that the parts got lost in the hole.
25. To understand this end, we considered
A. the Bellagio fountains.
B. Frank Lloyd Wright's home design.
C. the Ferrari California Spyder
D. the Golden Gate Bridge.
E. All the above.
26. Of the Gestalt principles, the law of Pragnanz refers to
A. similarity.
B. sophistication.
C. verisimilitude
D. simplicity
27. Items that are similar tend to be grouped together. This is the
A. law of proximity.
B. law of Pragnanz.
C. law of similarity.
D. law of simplicity.
28. When the eye follows a concept of design leading it through its composition, it is an effect of the law of
A. closure.
B. proximity.
C. continuity.
D. Pragnanz.
29. When a design groups objects together to create a whole, this is known as
A. summativity.
B. non-summativity.
C. closure.
D. disclosure.
E. non-disclosure.
30. When the eye follows a path of least resistance in design it's also a function of the psychological influence of the
A. schemata.
B. law of continuity.
C. law of simplicity
D. law of least resistance.
E. law of apathy.
31. __________ proxemics are visually communicative signals and signifiers
A. artifactual
B. spatial
C. territorial
32. Collateral was defined as
A. peripheral materials designed to support a campaign.
B. assets you put up to secure a loan.
C. brochures, direct mail pieces, and cards.
D. primary campaign artifacts.
E. both A and C.
33. We examined a motion artifact, a commercial that showed an inevitable collision between two athletes. The driving force behind the idea of fate was
A. the music.
B. the direction of movement of the subjects in their stories.
C. the Nike slash.
D. the NFL.
E. the design principle of juxtaposition.
34. The Rape Crisis Scotland campaign, This is Not an Invitation to Rape Me, was designed to dispel which social attitudes towards women?
A. Women dressed in revealing clothing are partly responsible for being raped.
B. A woman is in some way responsible for being raped if she is drunk.
C. A woman contributes to her rape if she flirts.
D. A woman is responsible for being raped if she’s had multiple sexual partners.
E. All the above.
35. Toyota's logo spells out the company name in three ellipses.
A. True.
B. False
36. On the website, I Love Typography, a designer used fonts to create an image of the
A. Golden Gate Bridge.
B. World Trade Center.
C. Salt Lake Temple.
D. Lincoln Memorial.
37. TDA Advertising & Design developed collateral "for your consideration" for USA Network's Burn Notice. To promote the context of the show the design used ___________.
A. high production value photography.
B. wood block printing.
C. invisible ink.
D. signal orange.
38. 479o is the name of a very expensive
A. popcorn.
B. line of sunglasses.
C. motorcycle.
D. cologne for men.
39. Andy Rutledge defines the vocabulary of artistic design with elements as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
40. Andy defines artistic grammar as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
41. Eric used color de-saturation to establish mood in the film, “There We'll Be.”
A. True.
B. False.
42. _________ fonts are reminiscent of the calligraphy from which their forms were derived.
A. Contemporary
B. Humanist
C. Transitional
D. Modern
43. A typeface without serifs is called sans serif, from the French sans, meaning
A. “adjacent.”
B. “flaming.”
C. “without.”
D. “with.”
44. “Arial,” (the type font you're reading now) is considered ___________, whereas “Times,” (the type you are reading now) is considered to be _________.
A. serif, sans serif
B. Humanist, Old Style
C. Modern, Didone
D. sans serif, serif
45. Font and typeface once meant two different things. Now they are interchangeable terms.
A. True.
B. False
46. Using too many fonts together in page design is considered
A. horsey.
B. bovine.
C. canine.
D. equine.
E. divine.
47. “The Alembic” is
A. a pentameter for poetry.
B. a type of hippie.
C. a restaurant in San Francisco.
D. something you should have removed by a doctor.
48. In developing the identity for The Alembic, designers
A. researched old mercantile crates and register receipts.
B. found gorgeous accidental patterns among the many stamps, stickers and various ID ephemera.
C. used a bunch of horsey fonts.
D. I have no idea what “ephemera” means.
E. both A and B.
49. For the design evaluation assignment, the point was to find and analyze two designs within the same domain, one good, one bad, sharing parallel communication _____________ reaching the same _____________.
A. trajectories, outcomes
B. content, goal
C. objectives, audience
D. meaning, conclusion
E. I still don't know what that assignment was about.
50. The logo below is an example of
A. the House of the Rising Sun.
B. an unfortunate merger.
C. effective continuity.
D. Pragnanz, though no one wants to admit it.
E. both B and D.
COMM 3560 Visual Communication
Assessment One
1. All communication exists within context. Visual communication that depicts an immanent danger creating fear or anxiety is a communication affect in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
2. Richard Seymour shows his audience a simple drawing made by a little girl. He then explains that the drawing is her last act during her life. With this new information, his audience experiences a significant shift in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
3. HBO's Voyeur website turns the user into a voyeur, playing with their __________ context.
A. creepy
B. social
C. psychological
D. temporal
E. cultural
4. In the vocabulary of design, line
A. is an identifiable path created by a point moving in space.
B. refers to a feeling of depth or three dimensions.
C. gives a visual sense of how an object depicted would feel in real life if touched.
D. can be seen from more than one side.
5. Lines define
A. shape.
B. texture.
C. form.
D. space.
6. Lines lead your eye around the composition and can communicate information through their character and direction.
A. True
B. False
7. Shape and form
A. refer to a feeling of depth or three dimensions.
B. give a visual sense of how an object depicted would feel in real life if touched.
C. are an identifiable path created by a point moving in space.
D. define objects in space.
8. Shapes have ________ dimensions where forms exist in _________.
A. two, three
B. three, two
C. one, two
D. two, one
E. None of the above.
9. Forms are defined by height, width,
A. and shading.
B. and depth.
C. texture, and shading.
D. and texture.
10. The area around the primary objects in a work of art is known as ________ space, while the space occupied by the primary objects is known as _________ space.
A. positive, negative
B. shape, form
C. negative, positive
D. light, shadow
11. The perfect illusion of three-dimensional space in a two-dimensional image is achieved through diagonal lines diminishing to a point.
A. True
B. False
12. Color is defined by
A. pigmentation.
B. complimentary and polarized chroma.
C. light reflected off objects.
D. primary hues.
13. Value describes the ________ of color.
A. brightness
B. chrominance
C. saturation
D. dullness
E. Both A and B.
14. Intensity describes the _______ of color.
A. purity
B. mood
C. shade
D. strength
E. Both A and D.
15. The surface quality of an object.
A. Line
B. Space
C. Shadow
D. Texture
E. Form
16. “Contrast is important because the meaningful essence of any thing is defined by its value, properties, or quality relative to something else.” Rutledge's statement could be summarized as:
A. Everything has meaning by itself.
B. Nothing has meaning by itself.
17. Light and shadow are elements of contrast in photography. Which of the following primary forms of contrast are elements in layout or web page design?
A. Order
B. Orientation
C. Line
D. Shape
E. Both B and D.
18. According to Rutledge, "The rules of artistry (and therefore design)
A. are open to the interpretation of the designer."
B. are inviolate and unchanging."
C. are meant to be broken."
D. result in poor art and poor design."
19. The function of contrast in defining meaning can be explained by comparing fundamental __________.
A. differences
B. similarities
C. opposites
D. philosophies
20. The micro-expression of contempt is an indication
A. of a baseline.
B. of sympathy.
C. of an evacuation of conscience.
D. of empathy.
21. Non-verbal visual elements include kinesics, a subset of which are Emblems,
A. cultural symbols that can be directly translated into words.
B. which are used to illustrate a point.
C. signifiers indicative of emotional escalation.
D. used to control the flow of verbal communication.
22. ________ is the only micro-expression that is characteristically asymmetrical.
A. Surprise
B. Anger
C. Contempt
D. Disgust
E. Joy
23. The Gestalt principle of figure/ground relationships means that elements in design are perceived as
A. highlight or shadow.
B. form or shape.
C. foreground or background
D. chromo or luminance
24. In describing Gestalt theory, we discussed the idea of non-summativity, meaning
A. that the sum of the parts is greater than the whole.
B. that the sum of the parts is equal to the whole.
C. that the sum of the parts is less than the whole.
D. that the parts got lost in the hole.
25. To understand this end, we considered
A. the Bellagio fountains.
B. Frank Lloyd Wright's home design.
C. the Ferrari California Spyder
D. the Golden Gate Bridge.
E. All the above.
26. Of the Gestalt principles, the law of Pragnanz refers to
A. similarity.
B. sophistication.
C. verisimilitude
D. simplicity
27. Items that are similar tend to be grouped together. This is the
A. law of proximity.
B. law of Pragnanz.
C. law of similarity.
D. law of simplicity.
28. When the eye follows a concept of design leading it through its composition, it is an effect of the law of
A. closure.
B. proximity.
C. continuity.
D. Pragnanz.
29. When a design groups objects together to create a whole, this is known as
A. summativity.
B. non-summativity.
C. closure.
D. disclosure.
E. non-disclosure.
30. When the eye follows a path of least resistance in design it's also a function of the psychological influence of the
A. schemata.
B. law of continuity.
C. law of simplicity
D. law of least resistance.
E. law of apathy.
31. __________ proxemics are visually communicative signals and signifiers
A. artifactual
B. spatial
C. territorial
32. Collateral was defined as
A. peripheral materials designed to support a campaign.
B. assets you put up to secure a loan.
C. brochures, direct mail pieces, and cards.
D. primary campaign artifacts.
E. both A and C.
33. We examined a motion artifact, a commercial that showed an inevitable collision between two athletes. The driving force behind the idea of fate was
A. the music.
B. the direction of movement of the subjects in their stories.
C. the Nike slash.
D. the NFL.
E. the design principle of juxtaposition.
34. The Rape Crisis Scotland campaign, This is Not an Invitation to Rape Me, was designed to dispel which social attitudes towards women?
A. Women dressed in revealing clothing are partly responsible for being raped.
B. A woman is in some way responsible for being raped if she is drunk.
C. A woman contributes to her rape if she flirts.
D. A woman is responsible for being raped if she’s had multiple sexual partners.
E. All the above.
35. Toyota's logo spells out the company name in three ellipses.
A. True.
B. False
36. On the website, I Love Typography, a designer used fonts to create an image of the
A. Golden Gate Bridge.
B. World Trade Center.
C. Salt Lake Temple.
D. Lincoln Memorial.
37. TDA Advertising & Design developed collateral "for your consideration" for USA Network's Burn Notice. To promote the context of the show the design used ___________.
A. high production value photography.
B. wood block printing.
C. invisible ink.
D. signal orange.
38. 479o is the name of a very expensive
A. popcorn.
B. line of sunglasses.
C. motorcycle.
D. cologne for men.
39. Andy Rutledge defines the vocabulary of artistic design with elements as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
40. Andy defines artistic grammar as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
41. Eric used color de-saturation to establish mood in the film, “There We'll Be.”
A. True.
B. False.
42. _________ fonts are reminiscent of the calligraphy from which their forms were derived.
A. Contemporary
B. Humanist
C. Transitional
D. Modern
43. A typeface without serifs is called sans serif, from the French sans, meaning
A. “adjacent.”
B. “flaming.”
C. “without.”
D. “with.”
44. “Arial,” (the type font you're reading now) is considered ___________, whereas “Times,” (the type you are reading now) is considered to be _________.
A. serif, sans serif
B. Humanist, Old Style
C. Modern, Didone
D. sans serif, serif
45. Font and typeface once meant two different things. Now they are interchangeable terms.
A. True.
B. False
46. Using too many fonts together in page design is considered
A. horsey.
B. bovine.
C. canine.
D. equine.
E. divine.
47. “The Alembic” is
A. a pentameter for poetry.
B. a type of hippie.
C. a restaurant in San Francisco.
D. something you should have removed by a doctor.
48. In developing the identity for The Alembic, designers
A. researched old mercantile crates and register receipts.
B. found gorgeous accidental patterns among the many stamps, stickers and various ID ephemera.
C. used a bunch of horsey fonts.
D. I have no idea what “ephemera” means.
E. both A and B.
49. For the design evaluation assignment, the point was to find and analyze two designs within the same domain, one good, one bad, sharing parallel communication _____________ reaching the same _____________.
A. trajectories, outcomes
B. content, goal
C. objectives, audience
D. meaning, conclusion
E. I still don't know what that assignment was about.
50. The logo below is an example of
A. the House of the Rising Sun.
B. an unfortunate merger.
C. effective continuity.
D. Pragnanz, though no one wants to admit it.
E. both B and D.
Assessment One
Respond to the fifty items below, recording your answers on a Scantron form. Turn your responses in no later than the beginning of class, Tuesday, October 11th. No tests will be accepted after that time.
COMM 3560 Visual Communication
Assessment One
1. All communication exists within context. Visual communication that depicts an immanent danger creating fear or anxiety is a communication affect in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
2. Richard Seymour shows his audience a simple drawing made by a little girl. He then explains that the drawing is her last act during her life. With this new information, his audience experiences a significant shift in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
3. HBO's Voyeur website turns the user into a voyeur, playing with their __________ context.
A. creepy
B. social
C. psychological
D. temporal
E. cultural
4. In the vocabulary of design, line
A. is an identifiable path created by a point moving in space.
B. refers to a feeling of depth or three dimensions.
C. gives a visual sense of how an object depicted would feel in real life if touched.
D. can be seen from more than one side.
5. Lines define
A. shape.
B. texture.
C. form.
D. space.
6. Lines lead your eye around the composition and can communicate information through their character and direction.
A. True
B. False
7. Shape and form
A. refer to a feeling of depth or three dimensions.
B. give a visual sense of how an object depicted would feel in real life if touched.
C. are an identifiable path created by a point moving in space.
D. define objects in space.
8. Shapes have ________ dimensions where forms exist in _________.
A. two, three
B. three, two
C. one, two
D. two, one
E. None of the above.
9. Forms are defined by height, width,
A. and shading.
B. and depth.
C. texture, and shading.
D. and texture.
10. The area around the primary objects in a work of art is known as ________ space, while the space occupied by the primary objects is known as _________ space.
A. positive, negative
B. shape, form
C. negative, positive
D. light, shadow
11. The perfect illusion of three-dimensional space in a two-dimensional image is achieved through diagonal lines diminishing to a point.
A. True
B. False
12. Color is defined by
A. pigmentation.
B. complimentary and polarized chroma.
C. light reflected off objects.
D. primary hues.
13. Value describes the ________ of color.
A. brightness
B. chrominance
C. saturation
D. dullness
E. Both A and B.
14. Intensity describes the _______ of color.
A. purity
B. mood
C. shade
D. strength
E. Both A and D.
15. The surface quality of an object.
A. Line
B. Space
C. Shadow
D. Texture
E. Form
16. “Contrast is important because the meaningful essence of any thing is defined by its value, properties, or quality relative to something else.” Rutledge's statement could be summarized as:
A. Everything has meaning by itself.
B. Nothing has meaning by itself.
17. Light and shadow are elements of contrast in photography. Which of the following primary forms of contrast are elements in layout or web page design?
A. Order
B. Orientation
C. Line
D. Shape
E. Both B and D.
18. According to Rutledge, "The rules of artistry (and therefore design)
A. are open to the interpretation of the designer."
B. are inviolate and unchanging."
C. are meant to be broken."
D. result in poor art and poor design."
19. The function of contrast in defining meaning can be explained by comparing fundamental __________.
A. differences
B. similarities
C. opposites
D. philosophies
20. The micro-expression of contempt is an indication
A. of a baseline.
B. of sympathy.
C. of an evacuation of conscience.
D. of empathy.
21. Non-verbal visual elements include kinesics, a subset of which are Emblems,
A. cultural symbols that can be directly translated into words.
B. which are used to illustrate a point.
C. signifiers indicative of emotional escalation.
D. used to control the flow of verbal communication.
22. ________ is the only micro-expression that is characteristically asymmetrical.
A. Surprise
B. Anger
C. Contempt
D. Disgust
E. Joy
23. The Gestalt principle of figure/ground relationships means that elements in design are perceived as
A. highlight or shadow.
B. form or shape.
C. foreground or background
D. chromo or luminance
24. In describing Gestalt theory, we discussed the idea of non-summativity, meaning
A. that the sum of the parts is greater than the whole.
B. that the sum of the parts is equal to the whole.
C. that the sum of the parts is less than the whole.
D. that the parts got lost in the hole.
25. To understand this end, we considered
A. the Bellagio fountains.
B. Frank Lloyd Wright's home design.
C. the Ferrari California Spyder
D. the Golden Gate Bridge.
E. All the above.
26. Of the Gestalt principles, the law of Pragnanz refers to
A. similarity.
B. sophistication.
C. verisimilitude
D. simplicity
27. Items that are similar tend to be grouped together. This is the
A. law of proximity.
B. law of Pragnanz.
C. law of similarity.
D. law of simplicity.
28. When the eye follows a concept of design leading it through its composition, it is an effect of the law of
A. closure.
B. proximity.
C. continuity.
D. Pragnanz.
29. When a design groups objects together to create a whole, this is known as
A. summativity.
B. non-summativity.
C. closure.
D. disclosure.
E. non-disclosure.
30. When the eye follows a path of least resistance in design it's also a function of the psychological influence of the
A. schemata.
B. law of continuity.
C. law of simplicity
D. law of least resistance.
E. law of apathy.
31. __________ proxemics are visually communicative signals and signifiers
A. artifactual
B. spatial
C. territorial
32. Collateral was defined as
A. peripheral materials designed to support a campaign.
B. assets you put up to secure a loan.
C. brochures, direct mail pieces, and cards.
D. primary campaign artifacts.
E. both A and C.
33. We examined a motion artifact, a commercial that showed an inevitable collision between two athletes. The driving force behind the idea of fate was
A. the music.
B. the direction of movement of the subjects in their stories.
C. the Nike slash.
D. the NFL.
E. the design principle of juxtaposition.
34. The Rape Crisis Scotland campaign, This is Not an Invitation to Rape Me, was designed to dispel which social attitudes towards women?
A. Women dressed in revealing clothing are partly responsible for being raped.
B. A woman is in some way responsible for being raped if she is drunk.
C. A woman contributes to her rape if she flirts.
D. A woman is responsible for being raped if she’s had multiple sexual partners.
E. All the above.
35. Toyota's logo spells out the company name in three ellipses.
A. True.
B. False
36. On the website, I Love Typography, a designer used fonts to create an image of the
A. Golden Gate Bridge.
B. World Trade Center.
C. Salt Lake Temple.
D. Lincoln Memorial.
37. TDA Advertising & Design developed collateral "for your consideration" for USA Network's Burn Notice. To promote the context of the show the design used ___________.
A. high production value photography.
B. wood block printing.
C. invisible ink.
D. signal orange.
38. 479o is the name of a very expensive
A. popcorn.
B. line of sunglasses.
C. motorcycle.
D. cologne for men.
39. Andy Rutledge defines the vocabulary of artistic design with elements as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
40. Andy defines artistic grammar as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
41. Eric used color de-saturation to establish mood in the film, “There We'll Be.”
A. True.
B. False.
42. _________ fonts are reminiscent of the calligraphy from which their forms were derived.
A. Contemporary
B. Humanist
C. Transitional
D. Modern
43. A typeface without serifs is called sans serif, from the French sans, meaning
A. “adjacent.”
B. “flaming.”
C. “without.”
D. “with.”
44. “Arial,” (the type font you're reading now) is considered ___________, whereas “Times,” (the type you are reading now) is considered to be _________.
A. serif, sans serif
B. Humanist, Old Style
C. Modern, Didone
D. sans serif, serif
45. Font and typeface once meant two different things. Now they are interchangeable terms.
A. True.
B. False
46. Using too many fonts together in page design is considered
A. horsey.
B. bovine.
C. canine.
D. equine.
E. divine.
47. “The Alembic” is
A. a pentameter for poetry.
B. a type of hippie.
C. a restaurant in San Francisco.
D. something you should have removed by a doctor.
48. In developing the identity for The Alembic, designers
A. researched old mercantile crates and register receipts.
B. found gorgeous accidental patterns among the many stamps, stickers and various ID ephemera.
C. used a bunch of horsey fonts.
D. I have no idea what “ephemera” means.
E. both A and B.
49. For the design evaluation assignment, the point was to find and analyze two designs within the same domain, one good, one bad, sharing parallel communication _____________ reaching the same _____________.
A. trajectories, outcomes
B. content, goal
C. objectives, audience
D. meaning, conclusion
E. I still don't know what that assignment was about.
50. The logo below is an example of
A. the House of the Rising Sun.
B. an unfortunate merger.
C. effective continuity.
D. Pragnanz, though no one wants to admit it.
E. both B and D.
COMM 3560 Visual Communication
Assessment One
1. All communication exists within context. Visual communication that depicts an immanent danger creating fear or anxiety is a communication affect in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
2. Richard Seymour shows his audience a simple drawing made by a little girl. He then explains that the drawing is her last act during her life. With this new information, his audience experiences a significant shift in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
3. HBO's Voyeur website turns the user into a voyeur, playing with their __________ context.
A. creepy
B. social
C. psychological
D. temporal
E. cultural
4. In the vocabulary of design, line
A. is an identifiable path created by a point moving in space.
B. refers to a feeling of depth or three dimensions.
C. gives a visual sense of how an object depicted would feel in real life if touched.
D. can be seen from more than one side.
5. Lines define
A. shape.
B. texture.
C. form.
D. space.
6. Lines lead your eye around the composition and can communicate information through their character and direction.
A. True
B. False
7. Shape and form
A. refer to a feeling of depth or three dimensions.
B. give a visual sense of how an object depicted would feel in real life if touched.
C. are an identifiable path created by a point moving in space.
D. define objects in space.
8. Shapes have ________ dimensions where forms exist in _________.
A. two, three
B. three, two
C. one, two
D. two, one
E. None of the above.
9. Forms are defined by height, width,
A. and shading.
B. and depth.
C. texture, and shading.
D. and texture.
10. The area around the primary objects in a work of art is known as ________ space, while the space occupied by the primary objects is known as _________ space.
A. positive, negative
B. shape, form
C. negative, positive
D. light, shadow
11. The perfect illusion of three-dimensional space in a two-dimensional image is achieved through diagonal lines diminishing to a point.
A. True
B. False
12. Color is defined by
A. pigmentation.
B. complimentary and polarized chroma.
C. light reflected off objects.
D. primary hues.
13. Value describes the ________ of color.
A. brightness
B. chrominance
C. saturation
D. dullness
E. Both A and B.
14. Intensity describes the _______ of color.
A. purity
B. mood
C. shade
D. strength
E. Both A and D.
15. The surface quality of an object.
A. Line
B. Space
C. Shadow
D. Texture
E. Form
16. “Contrast is important because the meaningful essence of any thing is defined by its value, properties, or quality relative to something else.” Rutledge's statement could be summarized as:
A. Everything has meaning by itself.
B. Nothing has meaning by itself.
17. Light and shadow are elements of contrast in photography. Which of the following primary forms of contrast are elements in layout or web page design?
A. Order
B. Orientation
C. Line
D. Shape
E. Both B and D.
18. According to Rutledge, "The rules of artistry (and therefore design)
A. are open to the interpretation of the designer."
B. are inviolate and unchanging."
C. are meant to be broken."
D. result in poor art and poor design."
19. The function of contrast in defining meaning can be explained by comparing fundamental __________.
A. differences
B. similarities
C. opposites
D. philosophies
20. The micro-expression of contempt is an indication
A. of a baseline.
B. of sympathy.
C. of an evacuation of conscience.
D. of empathy.
21. Non-verbal visual elements include kinesics, a subset of which are Emblems,
A. cultural symbols that can be directly translated into words.
B. which are used to illustrate a point.
C. signifiers indicative of emotional escalation.
D. used to control the flow of verbal communication.
22. ________ is the only micro-expression that is characteristically asymmetrical.
A. Surprise
B. Anger
C. Contempt
D. Disgust
E. Joy
23. The Gestalt principle of figure/ground relationships means that elements in design are perceived as
A. highlight or shadow.
B. form or shape.
C. foreground or background
D. chromo or luminance
24. In describing Gestalt theory, we discussed the idea of non-summativity, meaning
A. that the sum of the parts is greater than the whole.
B. that the sum of the parts is equal to the whole.
C. that the sum of the parts is less than the whole.
D. that the parts got lost in the hole.
25. To understand this end, we considered
A. the Bellagio fountains.
B. Frank Lloyd Wright's home design.
C. the Ferrari California Spyder
D. the Golden Gate Bridge.
E. All the above.
26. Of the Gestalt principles, the law of Pragnanz refers to
A. similarity.
B. sophistication.
C. verisimilitude
D. simplicity
27. Items that are similar tend to be grouped together. This is the
A. law of proximity.
B. law of Pragnanz.
C. law of similarity.
D. law of simplicity.
28. When the eye follows a concept of design leading it through its composition, it is an effect of the law of
A. closure.
B. proximity.
C. continuity.
D. Pragnanz.
29. When a design groups objects together to create a whole, this is known as
A. summativity.
B. non-summativity.
C. closure.
D. disclosure.
E. non-disclosure.
30. When the eye follows a path of least resistance in design it's also a function of the psychological influence of the
A. schemata.
B. law of continuity.
C. law of simplicity
D. law of least resistance.
E. law of apathy.
31. __________ proxemics are visually communicative signals and signifiers
A. artifactual
B. spatial
C. territorial
32. Collateral was defined as
A. peripheral materials designed to support a campaign.
B. assets you put up to secure a loan.
C. brochures, direct mail pieces, and cards.
D. primary campaign artifacts.
E. both A and C.
33. We examined a motion artifact, a commercial that showed an inevitable collision between two athletes. The driving force behind the idea of fate was
A. the music.
B. the direction of movement of the subjects in their stories.
C. the Nike slash.
D. the NFL.
E. the design principle of juxtaposition.
34. The Rape Crisis Scotland campaign, This is Not an Invitation to Rape Me, was designed to dispel which social attitudes towards women?
A. Women dressed in revealing clothing are partly responsible for being raped.
B. A woman is in some way responsible for being raped if she is drunk.
C. A woman contributes to her rape if she flirts.
D. A woman is responsible for being raped if she’s had multiple sexual partners.
E. All the above.
35. Toyota's logo spells out the company name in three ellipses.
A. True.
B. False
36. On the website, I Love Typography, a designer used fonts to create an image of the
A. Golden Gate Bridge.
B. World Trade Center.
C. Salt Lake Temple.
D. Lincoln Memorial.
37. TDA Advertising & Design developed collateral "for your consideration" for USA Network's Burn Notice. To promote the context of the show the design used ___________.
A. high production value photography.
B. wood block printing.
C. invisible ink.
D. signal orange.
38. 479o is the name of a very expensive
A. popcorn.
B. line of sunglasses.
C. motorcycle.
D. cologne for men.
39. Andy Rutledge defines the vocabulary of artistic design with elements as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
40. Andy defines artistic grammar as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
41. Eric used color de-saturation to establish mood in the film, “There We'll Be.”
A. True.
B. False.
42. _________ fonts are reminiscent of the calligraphy from which their forms were derived.
A. Contemporary
B. Humanist
C. Transitional
D. Modern
43. A typeface without serifs is called sans serif, from the French sans, meaning
A. “adjacent.”
B. “flaming.”
C. “without.”
D. “with.”
44. “Arial,” (the type font you're reading now) is considered ___________, whereas “Times,” (the type you are reading now) is considered to be _________.
A. serif, sans serif
B. Humanist, Old Style
C. Modern, Didone
D. sans serif, serif
45. Font and typeface once meant two different things. Now they are interchangeable terms.
A. True.
B. False
46. Using too many fonts together in page design is considered
A. horsey.
B. bovine.
C. canine.
D. equine.
E. divine.
47. “The Alembic” is
A. a pentameter for poetry.
B. a type of hippie.
C. a restaurant in San Francisco.
D. something you should have removed by a doctor.
48. In developing the identity for The Alembic, designers
A. researched old mercantile crates and register receipts.
B. found gorgeous accidental patterns among the many stamps, stickers and various ID ephemera.
C. used a bunch of horsey fonts.
D. I have no idea what “ephemera” means.
E. both A and B.
49. For the design evaluation assignment, the point was to find and analyze two designs within the same domain, one good, one bad, sharing parallel communication _____________ reaching the same _____________.
A. trajectories, outcomes
B. content, goal
C. objectives, audience
D. meaning, conclusion
E. I still don't know what that assignment was about.
50. The logo below is an example of
A. the House of the Rising Sun.
B. an unfortunate merger.
C. effective continuity.
D. Pragnanz, though no one wants to admit it.
E. both B and D.
Assessment One
Respond to the fifty items below, recording your answers on a Scantron form. Turn your responses in no later than the beginning of class, Tuesday, June 28th. No tests will be accepted after that time.
COMM 3560 Visual Communication
Assessment One
1. All communication exists within context. Visual communication that depicts an immanent danger creating fear or anxiety is a communication affect in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
2. Richard Seymour shows his audience a simple drawing made by a little girl. He then explains that the drawing is her last act during her life. With this new information, his audience experiences a significant shift in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
3. HBO's Voyeur website turns the user into a voyeur, playing with their __________ context.
A. creepy
B. social
C. psychological
D. temporal
E. cultural
4. In the vocabulary of design, line
A. is an identifiable path created by a point moving in space.
B. refers to a feeling of depth or three dimensions.
C. gives a visual sense of how an object depicted would feel in real life if touched.
D. can be seen from more than one side.
5. Lines define
A. shape.
B. texture.
C. form.
D. space.
6. Lines lead your eye around the composition and can communicate information through their character and direction.
A. True
B. False
7. Shape and form
A. refer to a feeling of depth or three dimensions.
B. give a visual sense of how an object depicted would feel in real life if touched.
C. are an identifiable path created by a point moving in space.
D. define objects in space.
8. Shapes have ________ dimensions where forms exist in _________.
A. two, three
B. three, two
C. one, two
D. two, one
E. None of the above.
9. Forms are defined by height, width,
A. and shading.
B. and depth.
C. texture, and shading.
D. and texture.
10. The area around the primary objects in a work of art is known as ________ space, while the space occupied by the primary objects is known as _________ space.
A. positive, negative
B. shape, form
C. negative, positive
D. light, shadow
11. The perfect illusion of three-dimensional space in a two-dimensional image is achieved through diagonal lines diminishing to a point.
A. True
B. False
12. Color is defined by
A. pigmentation.
B. complimentary and polarized chroma.
C. light reflected off objects.
D. primary hues.
13. Value describes the ________ of color.
A. brightness
B. chrominance
C. saturation
D. dullness
E. Both A and B.
14. Intensity describes the _______ of color.
A. purity
B. mood
C. shade
D. strength
E. Both A and D.
15. The surface quality of an object.
A. Line
B. Space
C. Shadow
D. Texture
E. Form
16. “Contrast is important because the meaningful essence of any thing is defined by its value, properties, or quality relative to something else.” Rutledge's statement could be summarized as:
A. Everything has meaning by itself.
B. Nothing has meaning by itself.
17. Light and shadow are elements of contrast in photography. Which of the following primary forms of contrast are elements in layout or web page design?
A. Order
B. Orientation
C. Line
D. Shape
E. Both B and D.
18. According to Rutledge, "The rules of artistry (and therefore design)
A. are open to the interpretation of the designer."
B. are inviolate and unchanging."
C. are meant to be broken."
D. result in poor art and poor design."
19. The function of contrast in defining meaning can be explained by comparing fundamental __________.
A. differences
B. similarities
C. opposites
D. philosophies
20. The micro-expression of contempt is an indication
A. of a baseline.
B. of sympathy.
C. of an evacuation of conscience.
D. of empathy.
21. Non-verbal visual elements include kinesics, a subset of which are Emblems,
A. cultural symbols that can be directly translated into words.
B. which are used to illustrate a point.
C. signifiers indicative of emotional escalation.
D. used to control the flow of verbal communication.
22. ________ is the only micro-expression that is characteristically asymmetrical.
A. Surprise
B. Anger
C. Contempt
D. Disgust
E. Joy
23. The Gestalt principle of figure/ground relationships means that elements in design are perceived as
A. highlight or shadow.
B. form or shape.
C. foreground or background
D. chromo or luminance
24. In describing Gestalt theory, we discussed the idea of non-summativity, meaning
A. that the sum of the parts is greater than the whole.
B. that the sum of the parts is equal to the whole.
C. that the sum of the parts is less than the whole.
D. that the parts got lost in the hole.
25. To understand this end, we considered
A. the Bellagio fountains.
B. Frank Lloyd Wright's home design.
C. the Ferrari California Spyder
D. the Golden Gate Bridge.
E. All the above.
26. Of the Gestalt principles, the law of Pragnanz refers to
A. similarity.
B. sophistication.
C. verisimilitude
D. simplicity
27. Items that are similar tend to be grouped together. This is the
A. law of proximity.
B. law of Pragnanz.
C. law of similarity.
D. law of simplicity.
28. When the eye follows a concept of design leading it through its composition, it is an effect of the law of
A. closure.
B. proximity.
C. continuity.
D. Pragnanz.
29. When a design groups objects together to create a whole, this is known as
A. summativity.
B. non-summativity.
C. closure.
D. disclosure.
E. non-disclosure.
30. When the eye follows a path of least resistance in design it's also a function of the psychological influence of the
A. schemata.
B. law of continuity.
C. law of simplicity
D. law of least resistance.
E. law of apathy.
31. __________ proxemics are visually communicative signals and signifiers
A. artifactual
B. spatial
C. territorial
32. Collateral was defined as
A. peripheral materials designed to support a campaign.
B. assets you put up to secure a loan.
C. brochures, direct mail pieces, and cards.
D. primary campaign artifacts.
E. both A and C.
33. We examined a motion artifact, a commercial that showed an inevitable collision between two athletes. The driving force behind the idea of fate was
A. the music.
B. the direction of movement of the subjects in their stories.
C. the Nike slash.
D. the NFL.
E. the design principle of juxtaposition.
34. The Rape Crisis Scotland campaign, This is Not an Invitation to Rape Me, was designed to dispel which social attitudes towards women?
A. Women dressed in revealing clothing are partly responsible for being raped.
B. A woman is in some way responsible for being raped if she is drunk.
C. A woman contributes to her rape if she flirts.
D. A woman is responsible for being raped if she’s had multiple sexual partners.
E. All the above.
35. Toyota's logo spells out the company name in three ellipses.
A. True.
B. False
36. On the website, I Love Typography, a designer used fonts to create an image of the
A. Golden Gate Bridge.
B. World Trade Center.
C. Salt Lake Temple.
D. Lincoln Memorial.
37. TDA Advertising & Design developed collateral "for your consideration" for USA Network's Burn Notice. To promote the context of the show the design used ___________.
A. high production value photography.
B. wood block printing.
C. invisible ink.
D. signal orange.
38. 479o is the name of a very expensive
A. popcorn.
B. line of sunglasses.
C. motorcycle.
D. cologne for men.
39. Andy Rutledge defines the vocabulary of artistic design with elements as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
40. Andy defines artistic grammar as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
41. Eric used color de-saturation to establish mood in the film, “There We'll Be.”
A. True.
B. False.
42. _________ fonts are reminiscent of the calligraphy from which their forms were derived.
A. Contemporary
B. Humanist
C. Transitional
D. Modern
43. A typeface without serifs is called sans serif, from the French sans, meaning
A. “adjacent.”
B. “flaming.”
C. “without.”
D. “with.”
44. “Arial,” (the type font you're reading now) is considered ___________, whereas “Times,” (the type you are reading now) is considered to be _________.
A. serif, sans serif
B. Humanist, Old Style
C. Modern, Didone
D. sans serif, serif
45. Font and typeface once meant two different things. Now they are interchangeable terms.
A. True.
B. False
46. Using too many fonts together in page design is considered
A. horsey.
B. bovine.
C. canine.
D. equine.
E. divine.
47. “The Alembic” is
A. a pentameter for poetry.
B. a type of hippie.
C. a restaurant in San Francisco.
D. something you should have removed by a doctor.
48. In developing the identity for The Alembic, designers
A. researched old mercantile crates and register receipts.
B. found gorgeous accidental patterns among the many stamps, stickers and various ID ephemera.
C. used a bunch of horsey fonts.
D. I have no idea what “ephemera” means.
E. both A and B.
49. For the design evaluation assignment, the point was to find and analyze two designs within the same domain, one good, one bad, sharing parallel communication _____________ reaching the same _____________.
A. trajectories, outcomes
B. content, goal
C. objectives, audience
D. meaning, conclusion
E. I still don't know what that assignment was about.
50. The logo below is an example of
A. the House of the Rising Sun.
B. an unfortunate merger.
C. effective continuity.
D. Pragnanz, though no one wants to admit it.
E. both B and D.
COMM 3560 Visual Communication
Assessment One
1. All communication exists within context. Visual communication that depicts an immanent danger creating fear or anxiety is a communication affect in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
2. Richard Seymour shows his audience a simple drawing made by a little girl. He then explains that the drawing is her last act during her life. With this new information, his audience experiences a significant shift in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
3. HBO's Voyeur website turns the user into a voyeur, playing with their __________ context.
A. creepy
B. social
C. psychological
D. temporal
E. cultural
4. In the vocabulary of design, line
A. is an identifiable path created by a point moving in space.
B. refers to a feeling of depth or three dimensions.
C. gives a visual sense of how an object depicted would feel in real life if touched.
D. can be seen from more than one side.
5. Lines define
A. shape.
B. texture.
C. form.
D. space.
6. Lines lead your eye around the composition and can communicate information through their character and direction.
A. True
B. False
7. Shape and form
A. refer to a feeling of depth or three dimensions.
B. give a visual sense of how an object depicted would feel in real life if touched.
C. are an identifiable path created by a point moving in space.
D. define objects in space.
8. Shapes have ________ dimensions where forms exist in _________.
A. two, three
B. three, two
C. one, two
D. two, one
E. None of the above.
9. Forms are defined by height, width,
A. and shading.
B. and depth.
C. texture, and shading.
D. and texture.
10. The area around the primary objects in a work of art is known as ________ space, while the space occupied by the primary objects is known as _________ space.
A. positive, negative
B. shape, form
C. negative, positive
D. light, shadow
11. The perfect illusion of three-dimensional space in a two-dimensional image is achieved through diagonal lines diminishing to a point.
A. True
B. False
12. Color is defined by
A. pigmentation.
B. complimentary and polarized chroma.
C. light reflected off objects.
D. primary hues.
13. Value describes the ________ of color.
A. brightness
B. chrominance
C. saturation
D. dullness
E. Both A and B.
14. Intensity describes the _______ of color.
A. purity
B. mood
C. shade
D. strength
E. Both A and D.
15. The surface quality of an object.
A. Line
B. Space
C. Shadow
D. Texture
E. Form
16. “Contrast is important because the meaningful essence of any thing is defined by its value, properties, or quality relative to something else.” Rutledge's statement could be summarized as:
A. Everything has meaning by itself.
B. Nothing has meaning by itself.
17. Light and shadow are elements of contrast in photography. Which of the following primary forms of contrast are elements in layout or web page design?
A. Order
B. Orientation
C. Line
D. Shape
E. Both B and D.
18. According to Rutledge, "The rules of artistry (and therefore design)
A. are open to the interpretation of the designer."
B. are inviolate and unchanging."
C. are meant to be broken."
D. result in poor art and poor design."
19. The function of contrast in defining meaning can be explained by comparing fundamental __________.
A. differences
B. similarities
C. opposites
D. philosophies
20. The micro-expression of contempt is an indication
A. of a baseline.
B. of sympathy.
C. of an evacuation of conscience.
D. of empathy.
21. Non-verbal visual elements include kinesics, a subset of which are Emblems,
A. cultural symbols that can be directly translated into words.
B. which are used to illustrate a point.
C. signifiers indicative of emotional escalation.
D. used to control the flow of verbal communication.
22. ________ is the only micro-expression that is characteristically asymmetrical.
A. Surprise
B. Anger
C. Contempt
D. Disgust
E. Joy
23. The Gestalt principle of figure/ground relationships means that elements in design are perceived as
A. highlight or shadow.
B. form or shape.
C. foreground or background
D. chromo or luminance
24. In describing Gestalt theory, we discussed the idea of non-summativity, meaning
A. that the sum of the parts is greater than the whole.
B. that the sum of the parts is equal to the whole.
C. that the sum of the parts is less than the whole.
D. that the parts got lost in the hole.
25. To understand this end, we considered
A. the Bellagio fountains.
B. Frank Lloyd Wright's home design.
C. the Ferrari California Spyder
D. the Golden Gate Bridge.
E. All the above.
26. Of the Gestalt principles, the law of Pragnanz refers to
A. similarity.
B. sophistication.
C. verisimilitude
D. simplicity
27. Items that are similar tend to be grouped together. This is the
A. law of proximity.
B. law of Pragnanz.
C. law of similarity.
D. law of simplicity.
28. When the eye follows a concept of design leading it through its composition, it is an effect of the law of
A. closure.
B. proximity.
C. continuity.
D. Pragnanz.
29. When a design groups objects together to create a whole, this is known as
A. summativity.
B. non-summativity.
C. closure.
D. disclosure.
E. non-disclosure.
30. When the eye follows a path of least resistance in design it's also a function of the psychological influence of the
A. schemata.
B. law of continuity.
C. law of simplicity
D. law of least resistance.
E. law of apathy.
31. __________ proxemics are visually communicative signals and signifiers
A. artifactual
B. spatial
C. territorial
32. Collateral was defined as
A. peripheral materials designed to support a campaign.
B. assets you put up to secure a loan.
C. brochures, direct mail pieces, and cards.
D. primary campaign artifacts.
E. both A and C.
33. We examined a motion artifact, a commercial that showed an inevitable collision between two athletes. The driving force behind the idea of fate was
A. the music.
B. the direction of movement of the subjects in their stories.
C. the Nike slash.
D. the NFL.
E. the design principle of juxtaposition.
34. The Rape Crisis Scotland campaign, This is Not an Invitation to Rape Me, was designed to dispel which social attitudes towards women?
A. Women dressed in revealing clothing are partly responsible for being raped.
B. A woman is in some way responsible for being raped if she is drunk.
C. A woman contributes to her rape if she flirts.
D. A woman is responsible for being raped if she’s had multiple sexual partners.
E. All the above.
35. Toyota's logo spells out the company name in three ellipses.
A. True.
B. False
36. On the website, I Love Typography, a designer used fonts to create an image of the
A. Golden Gate Bridge.
B. World Trade Center.
C. Salt Lake Temple.
D. Lincoln Memorial.
37. TDA Advertising & Design developed collateral "for your consideration" for USA Network's Burn Notice. To promote the context of the show the design used ___________.
A. high production value photography.
B. wood block printing.
C. invisible ink.
D. signal orange.
38. 479o is the name of a very expensive
A. popcorn.
B. line of sunglasses.
C. motorcycle.
D. cologne for men.
39. Andy Rutledge defines the vocabulary of artistic design with elements as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
40. Andy defines artistic grammar as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
41. Eric used color de-saturation to establish mood in the film, “There We'll Be.”
A. True.
B. False.
42. _________ fonts are reminiscent of the calligraphy from which their forms were derived.
A. Contemporary
B. Humanist
C. Transitional
D. Modern
43. A typeface without serifs is called sans serif, from the French sans, meaning
A. “adjacent.”
B. “flaming.”
C. “without.”
D. “with.”
44. “Arial,” (the type font you're reading now) is considered ___________, whereas “Times,” (the type you are reading now) is considered to be _________.
A. serif, sans serif
B. Humanist, Old Style
C. Modern, Didone
D. sans serif, serif
45. Font and typeface once meant two different things. Now they are interchangeable terms.
A. True.
B. False
46. Using too many fonts together in page design is considered
A. horsey.
B. bovine.
C. canine.
D. equine.
E. divine.
47. “The Alembic” is
A. a pentameter for poetry.
B. a type of hippie.
C. a restaurant in San Francisco.
D. something you should have removed by a doctor.
48. In developing the identity for The Alembic, designers
A. researched old mercantile crates and register receipts.
B. found gorgeous accidental patterns among the many stamps, stickers and various ID ephemera.
C. used a bunch of horsey fonts.
D. I have no idea what “ephemera” means.
E. both A and B.
49. For the design evaluation assignment, the point was to find and analyze two designs within the same domain, one good, one bad, sharing parallel communication _____________ reaching the same _____________.
A. trajectories, outcomes
B. content, goal
C. objectives, audience
D. meaning, conclusion
E. I still don't know what that assignment was about.
50. The logo below is an example of
A. the House of the Rising Sun.
B. an unfortunate merger.
C. effective continuity.
D. Pragnanz, though no one wants to admit it.
E. both B and D.
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