Good Gestalt

Good
Gestalt
P R E S E N T A T I O N
L A W R E N C E I A N
C , O M A N A
Objectives: 01
Define Gestalt
princilepls
02 Explain how the Gestalt

principles of the viewers
Analyze and critique

03 existing graphic
design
01 Introduction
This chapter introduces the fundamental
concepts of visual gestalt that underlie all
design structure.
Gestalt theory is explained and examined by
showing its practical application to symbol
and logo design.
The function of symbol and logo design in
the graphic design field is discussed in
terms of the relationship between form and
content.
All gestalt principles introduced here can be
applied in future chapter assignments in
layout, illustration, Web design, and more
Knowing how the eye Giuseppe
01
seeks a gestalt can
Arcimboldo 16th
help you analyze and
create successful century
designs.
By knowing what
The early Gestalt
connections the eye
psychologists and
will draw for itself, you
many other
eliminate clutter and
researchers into visual
produce a clearly
perception have
articulated design.
discovered that the
eye seeks a unified
whole, or gestalt.
Gestalt Principles
A designer works not simply with

lines on paper, but with perceptual
structure. Learn these gestalt
perceptual principles and you can
take advantage of the way object,
eye, and graphic creation interweave.
. This image makes a powerful comment through
its use of similarity. The figure on the top is a
medieval depiction of a man being “broken on the
wheel.
Similarity
When we see things that are
similar, we naturally group them.
Grouping by similarity occurs
when we see similar shape, size,
color, spatial location (proximity),
angle, or value
Continuation
The viewer’s eye will follow along
a line or curve. Continuation
occurs when the eye is carried
smoothly into a line or curve that
links adjoining objects.
Shapes that are not interrupted but form a
harmonious relationship with adjoining shapes
please the eye.
The symbol of the U.S. Energy Extension
Service uses continuation to emphasize the
moving, dynamic nature of energy.
In this example the ends of the e line up with

the ends of the arrowhead, forming a continued
line that harmoniously unites the shapes.
Shows how the eye will follow the interruption of the black outline, seeing a
continued, implied shape.
This principle is used extensively in layout design to unite various elements,
often by placing them along invisible grid lines.
Closure
Familiar shapes are more readily seen as

complete than incomplete. When the eye
completes (closes) a line or curve in order to
form a familiar shape, closure has occurred.
The picture is a symbol created by the 1 +
1 Design firm. Do you see the white plus
sign created by the figure/ground
relationship?
Part of the closure in this example

includes a sudden connection with the
name of the firm.
This sort of connection is especially

useful in trademark design. Closure is
sometimes accompanied by an “Oh, now I
see!” reaction
An elegant editorial statement is made in this opera
symbol when we recognize the link between a musical
note and a heart.
Herb Lubalin calls for active conceptual
participation by the viewer to achieve an
intellectual closure with the O shape and a
womb.
Figure/Ground
The fundamental law of perception that
makes it possible to discern objects is the
figure/ground relationship. The eye and
mind separate an object (figure) from its
surroundings (ground).
The diagram in Figure lets us see black

bars on a white central background or see
white squares on a black ground. Gestalt
relationships in graphic design are always
intended to help structure an appropriate
communication.
Trademark
The interplay of gestalt principles occurs in
all areas of design but is clearest in the
creation of logo and symbol trademarks.
Here form and function are closely related.
We have examined the gestalt formal
structure of trademarks.
Next we consider the function of these
marks.
The final project in this chapter will ask you
to relate these two considerations.
Function
-Symbols and trademarks have served many functions in

history. The early Christians relied on the symbol of the
fish to identify themselves to one another secretly. In
the Dark Ages, family trademarks were used. No
nobleman in the same region could wear the same coat
of arms.
A trademark is any unique name or symbol used to identify a product
and to distinguish it from others. These unique marks can be registered
and protected by law. Their primary use is to increase brand recognition
and advertise products and services.
Making “Marks”
Unlike other forms of advertising, the modern trademark

is often a long-term design. It may appear on letterhead,
company trucks, packaging, employee uniforms,
newsletters, and so on. Designers can spend months
developing and testing one trademark. Only a strong
design with a simple, unified gestalt will stand the test
of repeated exposure.
Making “Marks”
Webster’s Eleventh New Collegiate Dictionary says a

symbol is “something that stands for or suggests
something else by reason of relationship, association,
convention, or accidental resemblance; especially: a
visible sign of something invisible. . . . An arbitrary or
conventional sign used in writing or printing relating to a
particular field to represent operations, quantities,
elements, relations, or qualities
Logos
The second category of trademark is called a logo or

logotype. The logo is a unique type or lettering that
spells out the name of a company or product. It may be
hand lettered, but it is usually constructed out of
variations on an existing typeface. Historically, it
developed after the symbol, because it requires a
literate audience.
Thank You
A N Y Q U E S T I O N ?
G O O D G E S T A L T

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Good

02 Explain how the Gestalt

Analyze and critique

A designer works not simply with

In this example the ends of the e line up with

Familiar shapes are more readily seen as

Part of the closure in this example

This sort of connection is especially

The diagram in Figure lets us see black

-Symbols and trademarks have served many functions in

Unlike other forms of advertising, the modern trademark

Webster’s Eleventh New Collegiate Dictionary says a

The second category of trademark is called a logo or

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