Dimension/Depth/Space/Scale

In this exhibit, there are plenty of depth and size cues. We can see that the camera is from an eye level of an average human. Because when you see the white slope over the other mannequin's heads, you immediately sense the familiar size cue by assuming we are similar to the height of the mannequin and we are also standing under the white slope at an eye level. Another use of the familiar size cue is that the tiny mannequins are far away. There are overlaps between mannequins, the white slope, and the chairs. If you observe the blue chairs, you can see overlap, relative size, and relative height (characteristics from the depth/size perception notes). The mannequins also perform the relative size depth cue. There is also the atmospheric perspective cue in terms of the mannequin's faces, the mannequins towards the deep end have fuzzy outlines and features.  

http://retaildesignblog.net/2012/02/08/bread-butter-berlin-2012-adidas/

Tone and Color

In the poster on the left, almost every shade of tone is utilized to design the atmosphere for the poster. There are two distinct tones (hard light and shade) on the actor's face, which creates a dark and mysterious mood. The bright tone is mostly on his hands and his white shirt. These extreme tones tells us that he is wealthy, and doesn't get his hands dirty. The other super bright tone from the back of his head is the light from the streets. This gives the viewer a feeling of impact, especially when it shines on the dark human figure shadow on the street. The bright light is also In contrast with the seat of the vehicle, giving the seat depth, and also adds darkness to the character's position. The most interesting interaction in terms of tone is with the lines. All the lines inside the car are crisp and clear, and they interact with the distinct tones in the vehicle. The edges between light and shadow creates lines, thin, fine lines giving the person a delicate and unstable mood state.
In terms of color usage in this poster, it's mainly constructed of blue and green hues. According to Dondis, blue is passive and soft. The color suggests the character of the person-passive and soft. When this trait interacts with tone, it adds dimension to the composition. The dark tone reinforces the saturation of the color blue/gray, building up the intense vibe of the story.   

http://mubi.com/notebook/posts/movie-poster-of-the-week-the-posters-of-the-2012-cannes-competition

WK10—The Basic Elements

The Shape

The bookshelf on the left is a good representation of shape in Dondis Basic Elements. The front panel is a distinctive rectangle, divided into two equal rectangles.   Because the shelf is angled towards the top at roughly 30 degrees, viewers can also notice that the bottom of the shelf is a rectangle. As for the two side panels, they are equal sized trapezoids. The negative space is also distinctive shapes to the eye. The bottom negative space creates an illusion that there is another trapezoid box there.

The Line

As for the second product on the right, lines are key to this design. The lines construct the form of the tangible object. Each composition of the four lines creates a face, therefor building up to the structure of this unique bottle.

The movement

With multiple wireframes, it creates an illusion that the object is moving. Due to the structure of the object, these curvaceous wire structures give the human eye a soft and organic movement. The attribute of movement gives the product uniqueness due to the fact that most furniture is calm, solid, and still.  

Visual thinking research