Visual grammar

96 Pages·2006·3.298 MB·English

by  Leborg, Christian

8VISUAL GRAMMAAR1221|4003ABSPVDGDTioiirssmRaiuntdAeratiaCnbltTsbuioitoinonnss22111613SSCRLFoitiaonmrrdnuemiitcclaaaettrutiniortteynrisrca22112914ISSCRSFnottuaevrrrrdinuucsmfitccaiarbattcituuflileeu orreegnssal t22113924123ISSSBSVnotttkafrrrolesuuuurli2cccmecmttt tuuueoarrrnleealss3 Ts“tAVAicfpThuIh dSehoPref eUr rsoaba iAuamceberLbbeoe ss.iG s vrtIt aentaaRroesa nAfi clt sclMVutlitte zxriscM esie tonu rAasina sbaaRtvt hl0i d|eoeLhcA.y1mn uiBsst% e meS.ttrahn T aaotes RcyfWo p y AeOtplr.ohCsyw(oas CTflkteie a|e honelObmliftdki iBabte sdtheJl r, jaiEeimrd h eeCp gielycnTloeauttSil: nsnc yoMhtit an rt, aoIgbTytt ,uuti ao hPcts nouerist e t bt ntisis.eensdu u lrog,o vc1n wo9tlhouyr. A7 r sa3ott hf)su, er ygba8 nsnhr1tey. etpchsmnroe e, sftcetreoootonnrmt s.a acttte hiioo edunc bes no vtfero taen dt a thp teooo i wnupputne.b crItoc h npiesjsp aacteyicio otn uuwcs.sa”p ,lD lfyrtio oiaoncm stids o ehAiatx .nwp aDei ltorhialtne raydn, ices e, o f 9 Pan1TuAwr“s1VTe9u0pIh hShp2srbapeeoepUr6see erc htAtegrasaoe ieLa eslenooer n onGicnPrfc.smdtte R au -titt,hh ne lTAnh ia.tec(atkeM r no tehnti eecM z doquae sY erupuAnc rrdfaootRdooioh lnmi |r snrp pLnaA a totuzit e BhnieepibsorniSir so esotoaT csi eyipf.nnz”R ns aot tu aA ithrWtini en stCeFsvnmn ta ilTl opsäosa h r|iiacncsrbsotOeghiah laleu yoBeet/xne s s.JKts=iedhEotn ad.i0Cu nnaoT .tasTwg6 dhhsS.9inh eene aT|9e rspPneh ienkeeidOqen ysoo ur,cI,e e nNao hPaofsetfteTosoo Bwsrtwirrie/n, a taa ,wyt u ininfo=ateoh dtenmssa6 ,dtt un.ut eh,9 oszsrLoe9 e tlbi i9 nnszt bor1epdehae o rie in cotktdcoa cas-eht pdh tiPfeetveeireldn, goas lfieec ytnrofede.irer deoean ae( msbmNx nt y aaaete; mhWn wr ei xbpdi ia nYtlieleacote e,nor isrk rs p:G d)oD r.rooaeepvaie ulf rptsi, h n1ai9lnn7aegd9. c)CdL, .o2 eM n5bs.o iFhwdyioerslr yeit- ctdpNh uioanbgo ltioyes.hurrmedtds ionif- xy Laes“atDLagopitrnaninorieendnsda isirs tatei,i pao rtAgenh.ld oeyPo h fser ji ikxtatAmnwyi s,eo cttlb rs is tal noeoiirnf.nen en Ve nbTeisasr.t.ta u uL h narticcenle oh.eL aeB i i tssuesno tirun ahlt incinwlbiyeozTie,n e h4edtdree 4o t mra.es,e ushaon o sascnApDpCPRrtpaot oeearoheiptdbacrirdfosen ltimi:teptip ratdeueh Pd shedhrnbs a:etie oi ri:rseenSr trirsnDtodtsyr yta t :r .rgoi :thdntsa Sht.efCeceti a teog.at e irsherA Tahn cscnebnhoitcurug veieel crbmchiitf nd rilewvtfarofei rcie eclnesont i unhrbeumemaem e aeaneone b ttlf tstf cwtnehejh wueatreeelrc e:xe oo egoatcntm uthanfplaecVo gewe po aneItbh Snnoi nw tcnec oetsUtrot iefh iraru(osAt csecabpi.ofLolep k eomfl ccnih G in.eae iin,nern eR anctcr b steAnlt iiehe sri)dMotcn. eer. un lwTiM eonss hfr tfA eith deti oaodhRne e o s i| tcwsmphhA ii,r afeoeotpBictl r rsekS lpiteipptoes,Te l hyt fsRrae 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VISUAL GRAMMAR|ABSTRACT|STRUCTURES|INFORMAL Vsvitisrsuuucatal udlr ieDs tjirusibdturgitibinougn t.b iVIoIytS U ncAthL.a Ge nRI Af eM aoMylAsbeRo|,jAe BtbchSTeteRsA Cc saTat|rSrleTulRe cUpdCtTo uUaRsrE eiSst| iIiiNomsFnO iRbleMaadArLsi |tVieynISd U saA tLo rDnuIS cTRtIBuUrTeIO.N IIltInVninIenSanoUcanvetAtivcLd eis aG stse RiftivrAinfnuMbeecc Mtuca lAryseRent |st A t/ rctBoaahuSInT bn ecRbfAeisital CruvltT iscrf|iriSnbaoetTleR cirs wUavmtn C deiThns U.in R atdvSEristSiui bc|tiIlcNesra.F tu (OtSumReecMre iA etatsLhlu|s sIoaNe riAVrn IceeSptgiIv sBoei,L n SE.sst/vrIiuoNtiAcsAit ouCwilrTbtenIhVsel, E eopo . s,3uf 5 eog.t)heuhe r w t bhohrebae jisrenetc r huttshac estbuy ua rate r deo. VISUAL GRAMMARC|2C8ONFCoRrEmTEon30Sizecr32eColorte CcawAtra snuersriohftaieocine nva ic s agcentcr ahd aadavrdtee eldm leaownret yh fafeosdiri msntm s .aOh Flcle onrumioasbsnn caern ej s tdeidneth fsinhoceeaedd eutbf oy s irt hsrhneui.e r h, c eliot inisaOtnd oduifrfpsei c,b uwllteshi tijocmh ed., ce aVfiTnconISi ebU tetAthhr Lsse st G rfaoeRfi.rgm A hoM.at T MocrAr rchRumo|erCveOednN . C.Ipsf RtthEeoTee Ev|isOu ruBalJ-l EirCmT Sisit s VFOGISUoerAgLor GammRAnMeiMcAtR r|fCiocONr CfmRoETrsEm|OBJsECTS|FOGsORuerMrgofaamnceiects rf,i oca rnfmodrs ms aosrl eiad rcser.e baatseedd b oy nli vminagth oermgaantiicsaml sf aocrt sb aasbeodu to np oliivnitnsg, loinregsa,n isms.
32Tone 32Saturation33Color Sphere
ImcIatrsto henaitsnrt chrreclfieekaarome onilsn aygog rtttnighcmhrln ayeue tttq ihpu zcmaeaas revtttilitsoeuss rnuoSnsuarf letat thhacteas pr ttopis ewusturcfahu tr esccioten tnout trfb re efeslupo tijarrrneuebnrrcsoemceetv uenasrt tseaaesss.rde ..l v .fiil o snoArWuma nlaa lyls gh e dvctoe er announo tsthm c ao nputtppguohehao re wrr eets oe oc ihaigtasnbivnoue oj ietanln arfeco fcrrcoomtigtsaarnil mienszdetrs utaobhc etli ue npnreea t.o dvttTehhrteines e .n fdTcoe h feeiilnrfleitr o ioaonrnwesne sh oedemr e,e “PVriisnucaipl ldeiss torifb Fuotiromn sahnodu Dlde aslilgonw, e4a2c. h unit form to occupy a similar amount of space as judged by the eye.” Wong, StTrb(“obpSheyreS oh erwttc eghtaeee rhevprcea eupeste unhalrea aeyc dnlsftl aufgi licto regtvrearhtuc leasod ouew fors r o raf.f”a ryft e hlovRodhuiislu. n eruBre do.c aomSugTl lnt hfe ef teAxkoh dsspaerpener e e lhnrism.ftietee glhaidn 2meotaciarfc, e 5 eAattp mtc r’op )aeetsr eana.aorn snsncrouodep ert. p eoVrbtmo –i esbfioe Iutrd snnaeeot btelss i xPnc oujadpreeeirebnnrlefcelcisner dsdsepcgt ii o.t n’oi nosoby ntT neal ym yrn (hsfmtBdo h steeptem rlr ho‘kelssuofoe ateiilennmceswci ynu htil:gl atieuuU –misscnodx ,r’oi evteaefinrhe tisarvlsrsissetz itestsi, s ya eao, o kootnnihffdtner eirC r d e t lmaoilpesahlyiet fbfaostaexrnsroonejactm eigenhas se, t cPhd us.s eer ewte ,granss rfctsec iat ,te ito1vas9hc i tt6ohyn e4f eo )a f,e. n 1 yt6ghe.le e , 35VStisruibcletu res35AStcrtuivcetu res36Texture “3cFo. oPnrslmaids (etfirrcao, tmhioa nLv iafnotg.r f vcooormlnutmae)ne 1t,. , 4 i5n. . F cCiogamusrmtaintogivn e mulyso esu,pl dteh.”ae Bk eirnxogtbe, yor-ifoJ oar nho afa narst twehnoin,r gkK’,us 2 no. svcteoornradcllbr eaotpgep,: e6aa5 rr.oaunncde, assq uaa vries-ibshlea opbejde, cett, cw. ift.h, out CAnCjCPRuooilsnhremitcacenarlotmyteru nl:o.wo r isFefge tdu.r yraoEly:lt t :olhEma eAettcoiermcot.o rrinCdninc..a . ai B MtlMr,yf tile:ooeio fcMlgteoehr.egr oaaAtyprmneso:h irtlcS.yro soh:gs :-eC y.:i ty, EAATCtpiRanecohqahsscrtleumttnureirroe adroo,fi cnalnoopln-hos,uoam louo,egr rlmco srm.yf e h go:iyslen aeyr:Micd gmp mNsi anedCsyeot,le st.rnarp eonDtttroehrtsse,uasm .s. t ilacA.Cht :iirl enlviePacse farehtol utitcaecsoeehri mgdtntairh vycratelgh:eyp re. hfo,r yuo:gmh nraetpurroed.ADMMPCR u hrcuaiae rr tyrneostitesocecowionutsgc.i r,lo:sr io unanB:l npeo,Gu c hlgoglrolyya.gen::v in scOiFtdcaarceioltoe ricso.ua otnsn ni anihcsl u efccomqeugunar.er tneen nrc.t es..
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TootVFIGnoIhfSreorrbamUrrd mAajaxfoeLaltei loGutcnluRtgtA.sM rhTMe. AhiT.Rn e|e CsA OxctNte CrutixReprEtexTutEt i|roueSeTrnxR eUic sCa aTitnUssnR d E aiSc n| aTos EpmXtnrTpsUuaRlitciEscettaru iotariefol s snt hta.r anundc tccuaarenn lbbineee ssce raeenandt ea/odnr d / Tdseterxsuticugtrnue.rs eT csh:ae nf os hrymastvaeelm, ain nof ofo rtrmenxaatmul, regenrsat aidVsIlSa, U ttArhiLao GennR Ads,M aorMaAmmRd|Ce,i Oa oNatCrisRo mE nTfEoe,| SracT RanhUCbdaTUns RstiEcrpSa|aiTrcEla XtTl U. RE VISUAL GRAMMAAR444|002A CRMSTIieVizrpeIrToeIrtEiintScigont444 003 iCFMagroieralrqovionurrseintngacy Voilume t444004 iRRDoyirttehaecmttioionns44 4005 TROFeoowxrtnmtautAiroexnisaround Asasa*vtaKistiiunoteccaenclt asiac.q ttr Ftta tiiiwrlmtivv—ihuv eaccrroiiete nitt tt*shthiayyse.ntit siu l,.e lsuo Wcesf sisios tansieln l oai.mfl oh magag ot mevaVhseo msvsteheaimon wstet cintnsat ui n naoa scatt aacsnirneer crinaileest s et rdarub tarmw eaiee tehhnti tpgs—ephei s qf ruprtseherqeonu eco eeennasdlcy sro yg.fn ecupenicre tecu nwireiltsithtl ivoniuar opseitcsVatttIonSidicrUii oarAoels Lp a nrGnae ndRs eaA nsM -oMro AeRarf|A nCaTIV ITIES RstcaicttcrFbrtgVEnIaiiheveSh ovhoeaiereU vmnnappeeacAlantmeflcnLpwereleroeur ,qyGne qe mattedRle.umtoi iut detcAhtf iebWtoninMirtfomteec oieMunoenyeectn Annqdh iort ro hRto fwmf.i|uecehhnesaAbeCneneea ,yt raajT oireanIse . sct/Vte rtfuIcucc Tnu hes RpaIWEortrti c peSeee enetohb|hhh eRs r thfrjyEiaeiiie a,esenstPea tvsti Ett chtp onosheTehs icIctebenT bdneesmoIfsO ae oj l aomoNeeefrohterr.erbevrccm beaemn pedjttsqsWje se ereoar i ouca zoedcotrnvhreeitlrbptt an s,asen itos joerero ten nciibaehianez scg yprdpjeet ste .eteehh aie e, sdcW mbadderstdt ettihhse , cstoiid ihnfci iatne rosasfwietwuvies vi bt nacnerrle teria,eedhae ta nechtmrr ynponlh n te,o tfc ihetmeaohf ets.mes het rmpaoiiWdsee ent ptteiiiv. u oahnsocehrnnge-s-eret rlai ein- sl DireCFcSootiirlozomner VISUAL GRAMMAR|ACTIVITIES|REPETITION VISUAL GRAMMAR|ACTIVITIES|MIRRORING
3RS6apdiriaaltion 37 38 4 4 69 SSMUDuupoopbwsveocenarrmsodlcieirnndangailtni/tnea gte/ 5408 DMiosvpelamceenmtent5 408 ADPanistgphlleacoefm ent 5 409 DDDiiirsreepcclattiicooennmoefn t “cSoommicesw’‘hMeoretiobnetliwneee.’”nSthceotftu MtucriCstlso’uddy, nUanmdiecrmstoavnedminegn tCaonmdiDcsu c(NhaemwpY’sordkia:gPraarmadmoaxtiPcrceosnsc,1e9p9t3o)f,1m10o.vementlies39 UR40hnyetvhemnfrequency Texture 41 4Mrltr“AAi2heerg tm oefnihiflrr reydLotror c eoodfwkoatrierneealsgiln d ndvS’to ie rd geoneofswle.ntn ac oyta stWa ah r(iiLen tnogs.h ns u rdTateoherenxhnf f:wiaPle sreholc a.incgpigde otwhhn,ea tyPytd rrhsewo suieosnca,d 2fa,o 0vfit0 l ebr1 te)oh,fsjl2eebe2 c9etc sj. esmwt huchaatrt ain fsia sisamc m tbseiendey iagametet lnyf m rti nhom efremotinr rt sirocafoa intar.m” el Alolydeanb .F ajlTeentchchgeetrl , e Tah re e
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DddVISieUsiAsfpLi nGplRaelAcaMdMec AbmRe|yAemC TanIVneItT IEnoaS|fntD .IgtSh PlWLeeAC. EfhMoeErNnmT o tADdnainisrglpekyllceaet cioopefsnmdaa eisnpnprdtltalaascneg cmloeeeonfft. aDni sopblajeccet15m ˚meonvte i,s a 30˚ VISUAL GRA4M5M˚AR|ACTIVITIES|DISPLACEMENT 5 651 ASDRttiatfVrtfaIiuSccsUtiAiooLnn G/R AeMMAR|5 6R62E LSADlAysTirmyIeOmmcaNtmeSiotenrtyr/y t56i73 BPaoolsaitniocenn6 548/ sG65ro SWuppesaigceht/ 6 660 ADFmoinmoeui/nnCaton/ac rese RctwAotthhbleathjhet og oecairutree gteimas hlct h deal tohrsafsits wieipt omrsnneti p dttaooo ord cw ietsmta aocsnrc dhnsh itit ithsos. aee ttTch hmoei.imtrs a o hrpicV,gsale i vannteeloassi ltoyohs fmetn mhrt hogeutere idceo paanaapstlleege ssae foslt.oo aTo rt thnotote rsteaah hm cesbthiari oeretegnteleij tin( omaoesortf e ltopnr acactncseapt tteiienhvtr.d, el tfs hocfeoeerloc rc csemoeesi m) sa nvttpr oteoow isew atiethoraidoernk neoiw.n abEgcjtel heoVc smIneotS tehUihtna.A erTvtLrseh. , G e R AMMAR|RELATIONS VISUAL GRAMMAR|RELATIONS|ATTRACTION VISUAL GRAMMAR|RELATIONS|ATTRACTION SaoiVTssIyShrbmUi ysrAsm jafLmeieyg GnturcmRircgemAta Miml selyM ca eAadrearlRoat |ntnnoRrggrE eiyanLcbdnA / Ta eIbOxwAiN som.Shst|SihoyYleM nmsM otiEdhmTsReeyY/ esmAlSa tYomyrMfoyMe a.Eu5t TnrWtRiY coa hfxo eitrshn ,me ot husbleptjeiyrs ecyaat4mrsde m a issreye tma riisdcmye.m enTtmthriicicesaat lrplli.yc a A.gne
5Do0birjeecctt tihoant iosf d Disipslpaclaecde mmoeven tin. aT hsep epcoiifnicts 1d5 ˚oirre lcintieosn .o f an 30˚ 45˚ 51 8 67 248 / N8NP3oee 5sugPE2itatrexitvaitnevlreeuts/riaotnion/7 86 549 TOIBFnropafalracnueqkseggupnreraocoreuuennnddt// 7 78065 / T7Ma1o nCDdgioiefsionctartadntiicnoeantion/ 77 8286 / PV79aa rraiOCalltoveioemlnrplaopupnindg/ 78 30 /A8n1 gSCluoebintcraidcetinocne/ 53 54 AcSmoItttmnoiimo i doafnaetto d fsho, lmtasteeanvavrl oettpetei pafooanitntgr mh ico acenaeer r5aye.spet 4 arsaaiei,Tt gnbtooapceoitnrht ieuo cfhnt.ost h e cernt e ooTnt.o h mot ioanehtOwpthti tieoheobieansrnibti tel t ejhiairleo iaen jmrnnn e e.cca odt ofcvh,c imtletietsiu mvrtp hepiotosee aysaen sn iirtntsse,tir io covhft nrpeonaei rlataoaycoat rte st ilbtnssug etg rgfaaa aageotta ibercnwcs sr. e oiotI5lctlretlu k uid ss4.get .o ie NonElsnr yoonr ittoebo estrafr hag utlt ehaeehrb natperieptcec aaetp ehoc dereerlte. diaslTvloievi qhtb nenyoijstl etuybacoci nestctiafooegcmoemnalru delle polsye aofot dtsar ba hni tsateshifotneeotptoneorposdrrts pop tsh iehtt eiiidanconnee tanmm glmeo rc odaa.oev t smsena lmitiefige nnnethrh.tnt.de ltyT.y hA a hebta otcvhvoeee mc tsopha5moem5seie- 5T6his figure has five symmetry axes. 1 23
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VISUAL GRAMMAR|RELATIONS|SPACE VISUAL GRAMMAR|RELATIONS|WEIGHT VISUAL GRAMMAR|RELATIONS|AMOUNT/DOMINANCE VISUAL GRAMMAR|RELATIONS|AMOUNT/DOMINANCE VISUAL GRAMMAR|RELATIONS|NEUTRAL VISUAL GRAMMAR|RELATIONS|BACKGROUND/FOREGROUND VISUAL GRAMMAR|RELATIONS|COORDINATION
Stohbpisjea mcctaesn .i nn Ae tr hc ceor msetaprtuoecs wtiutihroeint ec c asanpn ar cheeainv fieon rdtcheeen tslhaeiys oa iunmtd.p Torehpsees npio laanrc.eeams eanntd o ifn Awldaormitgmheo imn unaaunnnmtty./b oDebro jeomcf tiosnb aajenncdct esa .ra e rAaes cn wootmit nhpe ofcesewitsi osonab rjcielyac nttsh h.e aA mvreeo aassrte wvaisistu ha all y Nsrwethealaonutldieot r noca uatlo.tn i Wnob nerhee ce laaantnl iloooebntdhj etenocre ,t ousatt nrhinade l .ratsh ,c eto hcmeoypm oapsreiot isoniteniou dntro aa lns io nat
Wahsbthkroeaeeywinta.i ggsTfwl o hholeiwegtf .esha c x.t oT fpoomherrrrp mohieouaensgtaci,htv iet yohc ,nte oho ncedf sa eswcnosi oimocgrurnledeseta, h rutai enscllg eaut hndote hifpn aitlgltahl u yeftlso i weui otspihnt,ph e oo e arefr s assasroonotmhmdc eiealaottnthhwidoiinn entggrhs e o f Tath hgeer debiasatcc csko ganrroteru aindsdte nwotniitc hta htl ihsine p swaizgheeit eais nb dna eceukvtegrnraolly.u Tnahdrre.a Tgnhgreae ydf ot.ormne d oofe tsh en odti ssctasn hda os uat sbheacdaeu sthea itt iiss sao g leignhetr athl afot ritm d aoneds bneotc acuresaet e BpbtN4tp(Siuve.iui sneoAreymese ab( pm nporbwetafcacr aceh rsrytayvthkeislv ieolaab eetditygo li v( eol tspic ohnneetrroe.eev o5no esdaca. r truosaAeeeu tfl eah aaips trotnpeeinaras ia r.iplosm cnpd lpeapetnessorrhc e/tsti tschptieovs aFehveitcoo )fatenl.ob ui r7v meote.r afrhC .ep (d teoaschee)rloe.ap kgF r ltllshierong o:(lr e cm1wbs.roo iO lGtooojhvfueur esutpnhr ecnolneanraf ps tsroppd dusDbeirnjface ga.ntcoaci. bvt2 eseonr .W olfcD tafd,of irBtan ohagh vleiweotkr iranpkhegcy aicfe loea gth murirn eirbo rer aicvp ol iedovnpmalewaudnreearir(nsnrrOo dhtta.ssdi snn3p lodog. :n G olopieA trsoshbarfisends t ttusddra)iaaa.oe tl6ke lpuyt.npt r Mhasfto mtseiaaercltaxdah ril)gsleite.m )n,m8 ur.2 /9.a 0 lCri.at r0niMreoc2gen o)pee v,u lerea3.ald rdr5sgir.p-n e eegnc c -e TtcChfilohronaeosos ef vismbgoteeu tlroor e wtdstth hhiaesib envpeoieev a erwcss eaetrariavi eieos mpmd ue nasrecusee .ab il vle pyvei Ondpage laa clcsbrlu eoscdsjoe eepolorr, wcdie ni nt itsncahsp ttaethe cdeiaev wc tsreohhmeiala.enp omttchhseieto e ifouignpo u.p freroerds. cWbienhTetuloeoxh anpswee eas ot,arecbi er ehjetae nw odcnconttoehs ,tode d .a b rTai.rjfeeh s ceabstt eebsrhe ionaentgret eoi nc mip lrpo ces euercs brpeoce ocoeft itvrhieved, ttehwienod e aill elumtseternast-
64 65 66 67 68 69 70
64 65 66 67 68 69 70
VISUAL GRAMMAR|RELATIONS|OVERLAPPING VISUAL GRAMMAR|RELATIONS|COMPOUND VISUAL GRAMMAR|RELATIONS|SUBTRACTION VISUAL GRAMMAR|RELATIONS|COINCIDENCE VISUAL GRAMMAR|RELATIONS|PENETRATION VISUAL GRAMMAR|RELATIONS|EXTRUSION IomVInSfUu fAatlL uunGRaoeAltMlnhyMAe ciRnre|R fEo.lLuAbWTeIjOenNhcSce|tIeN,nF Li etUa EahnNcCa Eohsb objetehceetn rh. iansfl ucehnacnegde.d O itbsj efocrtms cbaenc aaulssoe
Oanvoethrelar popbijencgt., t hWeh feirns tp oabrtjes cotf oavne rolabpjesc tth leie saebcoovned p oanrtes. of Caan ocdom mvipspuooauullnnyd da .fpo pWrmeah. re nto t wbeo oonbeje ocbtsje ocvt,e trhlaep f oearmch i so tchaellre d Sasunubobttrhtarecart ciootnnieo h nias. s d Wteadhkueecnnt epthdlae fc rpeoa.m r t tohfe a unn odbejrelycitn gth oatb ojevcetr, laap s Csfriozoemi n aacnbiddo aveerne tc hseeit.yu aWatpehpdee nda irtr wetoco t bloye ba jobenocetvs ef o horamnvee, tathnheoey t shcaeomri,n esc oifdo terhm.a ta nd Plaergneer torbajteioctn, .a Wpehneentr aotnioen o hbajesc ot cisc uprureshde. d through another, Eainnxfl utorepunescnieionsgn t h.i ne T afhoner mopb roojefcc teth sseso mo tfah ftaoetrr tciahilne ig sf o acr ammll eaodtfe terhixaetlr otuhpdreionnugign ahg profile. No influence Influence from the lower form
Tprheev icoyulisnlyd emr ahkaess c lritetalete ddif afe hreonlec ein. the quadratic disc by penetrating it. Whether or not there was a hole in the disc Idefxe wtpreeu ndpdareitnesg.s oan m thaete arimalo tuhnrot uogf hm tahtee rhiaoll ep rtehsast ewde t hpreonuegthra. tTehde o pnr othfiele p arceqviuoiurisn gp athgee ,f tohrem r oefs uthlte w oipll ebnein ag d isis cc aollre ad cthylein der, Influence from the upper form Mutual influence
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92 93 94 95 96
Princeton Architectural Press
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First published in Norway by Abstrakt Forlag
in 2004
Copyright English edition © 2006 Princeton Architectural Press
10 09 08 07 06 5 4 3 2 1 First edition
No part of this book may be used or reproduced in any manner
without written permission from the publisher, except in the context of
reviews. Every reasonable attempt has been made to identify owners of
copyright. Errors or omissions will be corrected in subsequent editions.
For Princeton Architectural Press:
Project editing: Nicola Bednarek
Design: Christian Leborg
Translation: Diane Oatley
Special thanks to: Nettie Aljian, Dorothy Ball, Janet Behning, Becca
Casbon, Penny (Yuen Pik) Chu, Russell Fernandez, Jan Haux, Clare
Jacobson, John King, Mark Lamster, Nancy Eklund Later, Linda Lee,
Katharine Myers, Lauren Nelson, Scott Tennent, Jennifer Thompson,
Paul Wagner, Joseph Weston, and Deb Wood of Princeton Architectural
Press —Kevin C. Lippert, publisher
Library of Congress Cataloging-in-Publication Data
Leborg, Christian.
[Visuell grammatikk. English]
Visual grammar / Christian Leborg.
p. cm.
Includes bibliographical references.
ISBN-13: 978-1-56898-581-7 (alk. paper)
ISBN-10: 1-56898-581-9 (alk. paper)
1. Visual perception. 2. Visual communication in art. I. Title.
N7430.5.L3913 2006
701’.8—dc22
2005034807
Christian Leborg

Visual Grammar
Abstract Concrete
Activities Relations
Princeton Architectural Press
New York
To Marianne
VISUAL GRAMMAR|PREFACE
Preface
Every day we are confronted with vast amounts of visual messages, but without a basic under-
standing of visual language many of these messages remain incomprehensible to us, and a
productive dialogue between producers and consumers of visual communication cannot take
place.
Knowledge of visual concepts is often acquired through physical experience and applied
without the use of written or spoken language; there are, however, a number of underlying
processes before and after the act of creation where verbal language has an important func-
tion. Reflection about what one is going to create or what one has created alters the creative
process: we think differently when we have a language to describe something. This book is a
contribution towards establishing such a language. It intends to be both a primer on visual lan-
guage and a visual dictionary of the fundamental aspects of visual communication.
The reason for writing a grammar of visual language is the same as for any language: to
define its basic elements, describe its patterns and processes, and to understand the rela-
tions between the individual elements in the system. Visual language has no formal syntax or
semantics, but the visual objects themselves can be classified. Accordingly, the book is divided
into four parts: abstract objects and structures, concrete objects and structures, activi-
ties, and relations. The first chapter deals with abstractions such as dimension, format, and
volume; the second concerns concrete objects and structures such as form, size, color, and
texture; the third part describes the activities that can take place in a composition such as
repetition, mirroring, and movement, and the fourth chapter deals with the relations between
several objects in a composition.
Writing this book I have stood on the shoulders of a number of the greats who have thought
and written about visual language. They are listed in the selected bibliography at the back of
the book. I would also like to thank Anette Wang, who gave me resistance when I needed it
and my Norwegian publisher Einar Plyhn, who gave me no resistance whatsoever. Yngve Lien
and Bjørn Kruse contributed constructive criticism. In addition, I received valuable feedback
from professionals and laymen, friends and family.
I hope that this book will help you speak and write about visual objects and their creative
potential and enable you to better understand the graphics that you encounter every day.
Oslo, November 2005
Christian Leborg
VISUAL GRAMMAR|CONTENTS
Abstract Concrete
Abstract Objects Concrete Objects
10 Point 28 Form
11 Line 30 Size
12 Surface 32 Color
13 Volume
Concrete Structures
14 Dimensions
16 Format 35 Visible Structures
35 Active Structures
Abstract Structures 36 Texture
19 Formal Structures
20 Gradation
21 Radiation
22 Informal Structures
23 Visual Distribution
24 Invisible/Inactive Structures
24 Structural Skeleton
VISUAL GRAMMAR |CONTENTS
Activities Relations
40 Repetition 55 Attraction
40 Frequency/Rhythm 55 Static
42 Mirroring 56 Symmetry/Asymmetry
43 Mirroring against a Volume 57 Balance
44 Rotation 58 Groups
46 Upscaling/Downscaling 60 Fine/Coarse
48 Movement 61 Diffusion
48 Path 62 Direction
49 Direction 63 Position
49 Superordinate/Subordinate 64 Space
Movement 65 Weight
50 Displacement 66 Amount/Dominance
50 Direction of Displacement 68 Neutral
69 Background/Foreground
70 Coordination
71 Distance
72 Parallel
73 Angle
74 Negative/Positive
75 Transparent/Opaque
76 Tangent
78 Overlapping
79 Compound
80 Subtraction
81 Coincidence
82 Penetration
83 Extrusion
84 Influence
85 Modification
86 Variation
89 Glossary
96 Bibliography
VISUAL GRAMMAR|ABSTRACT
Abstract
10 Point 11 Line 12 Surface 13 Volume
1 2 3
2
14 Dimensions 16 Format 19 Formal 19 3Basic
Structures Structures
20 Gradation 21 Concentric 21 Centrifugal 22 Informal
Radiation Radiation Structures
23 Visual 23 Similarity 24 Invisible 24 Structural
Distribution Structures Structures Skeleton
8
VISUAL GRAMMAR|ABSTRACT|OBJECTS
Abstract Objects. Abstract objects are
ideal shapes that cannot be physically
created. When you try to draw a point,
for example, you do not end up with a
point but with a surface.
The above illustration may look like a point, but it is only the representation of a point. It is actually a dot with a
surface. Its size is 0.1% of that of the illustration below.
“The abstract conveys the essential meaning, cutting through the conscious to the unconscious, from experience of
the substance in the sensory field directly to the nervous system, from the event to perception.” Donis A. Dondis,
A Primer of Visual Literacy. (Cambridge: MIT Press, 1973), 81.
9
VISUAL GRAMMAR|ABSTRACT|OBJECTS|POINT
Point. You cannot see or feel a point; it is a place without
area. The point has a position that can be defined by
coordinates (numbers on one, two, or three axes).
z
y
x
The coordinates for this point are x=0.699 inches, y=6.9991 inches from the
upper left-hand corner of the page.
A spherical coordinate system is used when one wants to indicate, for example,
where on the earth a point is located. The equator and the zero-degree meridian
represent the zero points at north/south and east/west, respectively.
“The geometric point is an invisible thing. Therefore, it must be defined as an incorporeal thing. Considered in terms of
substance, it equals zero.” Wassily Kandinsky, Point and Line to Plane (New York: Dover, 1979), 25. First published in
1926 as Punkt und Linie zu Fläche in a series of Bauhaus books edited by Walter Gropius and L. Moholy-Nagy.
10