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• W4246197605 abstract "If humans have evolved looking at the world in all its sharp detail, we might expect that a picture that can reproduce that detailed world faithfully would be ideal for all pictorial communication. However, depending on the task, a high-fidelity photograph is often outperformed by other kinds of pictures. This raises a fundamental question for research into illustration: how can we see and understand pictures that are “less-real-than-real” in the first place? This chapter looks at the innate psychological faculties through which we comprehend pictures abstracted away from realism, and how knowledge of these faculties helps to build an appreciation of the special advantages of illustration, and in turn contribute to illustration theory. The brain has a built-in margin for error, which allows it to regard novel impressions on the retina as something previously experienced but under different conditions. Illustration allows for these more generalized views of things to be presented to the beholder rather than the sliver of reality captured in the snapshot. Pictures reduced in fidelity away from their referents connect to two key aspects of the psychology of seeing: identification – telling the difference between things in the same class; and categorization – telling the difference between one class of things and another. This chapter explores perceptual and cognitive science, as it applies to illustration, in order to explain how illustrations can help the beholder with the visual tasks of both identification and categorization. Pictures communicate differently as a function of the degree of fidelity adopted by the illustrator. Distillation and exaggeration can actually communicate more powerfully to the psyche than “the real thing.” Furthermore, illustration need not be a means of recording aspects of the visible world at all but may also make visible those aspects of life that are not normally apparent to the eye. Just as human experience arrives through any of the senses or through combinations thereof, so depiction can be derived from experiences received through senses other than sight. Humans know about the world through all the senses and begin to understand it through image schemas upon which are built metaphorical concepts of how things in their world are interrelated. Johnson sees image schemas as also pointing the way “to all forms of symbolic human interaction and expression.” Because these schema work across the senses, they connect vision to other domains of knowing and communicating about the world and our experiences in it. In these connections they form the basis for metaphorical thinking. Accordingly, a theory of illustration must, in addition to the ideas of representing the visible world, look into the act of ordering existence that the illustrator undertakes when making a picture. Illustration exists in tension between perception and cognition, between seeing in and recording from the wild, but also making visible those feelings and understandings from the experiential and emotional recesses of a person and connecting these to communication concepts. As an appendix, a workshop on character design is explained which embodies the theory developed in this chapter." @default.
• W4246197605 created "2022-05-12" @default.
• W4246197605 creator A5055284059 @default.
• W4246197605 date "2019-03-28" @default.
• W4246197605 modified "2023-10-14" @default.
• W4246197605 title "Making Visible" @default.
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• W4246197605 doi "https://doi.org/10.1002/9781119185574.ch1" @default.
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