How to construct photography? Please, great gods.

Issue 1: The layering of page composition graphics and the layering between elements can achieve a visual interference at the same time (this kind of visual interference we are talking about is to distract the viewer's redundant sight, and at the same time, we can pay more attention to the theme of this design, and the graphics generated for this interference mode are the auxiliary graphics of this theme), which is often a relatively direct and effective expression. Just like the picture I quoted below, the irregular translucent elements, lights, numbers, squares and enlarged robots in the picture form a certain sense of depth and hierarchy. This writing element distracts the audience's attention and makes them focus on Gundam death scythe in the center and the robot below. (This design method is a common design method now. Because most people think it is cool. Second: the visual line traction of page composition draws the viewer's vision with colors or elements, so that the viewer can think and watch the works with the designer's thinking. However, most of the existing works are oriented by points, lines and surfaces, and the works oriented by lines and elements are rare. Just like the picture below, the visual center is the white color block in the middle and the text in it, while the blue line segment appearing at the junction of the upper and lower pictures pulls the viewer's line of sight to move towards the text and other small figures in the picture. No.3: color induction, (1, color contrast, color complementation, color dispersion) First, talk about color contrast, and use two colors with strong contrast, as shown in the figure: the main color block in the figure uses red and gray, while the white block with big background in the figure has strong contrast with the red line. Gray balances the strong contrast of colors, but it also plays a certain role in contrast and reuse with red. NO.4: Light-dark induction, using some commonalities of light-sensitive refraction, light-sensitive capture, dynamic light perception and light-dark difference to compare (Figure 1 Description) NO.5: Instantly capture, eyes instantly accept, to capture visual points NO.6: Grasp the breakthrough point, achieve visual requirements by breaking through the visual balance point of the graphic image itself, and use the graphic material itself to find the breakthrough point of design. The advertisement and sense of space generated by the picture in the lower right corner of the picture. Seventh: Proportion, (according to the proportional relationship of things themselves, we pursue the visual balance in the proportional relationship, break through the proportional relationship of things themselves, and then expand our visual focus in order to break through) Just like some exaggerated cartoons, a figure with a big head and a small body, an exaggerated way of distorting the normal proportion, we can often achieve miraculous results inadvertently. Eighth, according to the audience's acceptance and usual feelings. Make use of some elements in daily life, give full consideration to the viewer's ability to recognize graphics, and impress the viewer's emotions with the natural beauty and cruel beauty that break through the ordinary acceptance ability, so as to gain people's memory of graphics. (I won't say much about this.) The ninth type: optical illusion, which uses the spatial sense of optical illusion to highlight the visual center of the overall design. No.65438 +00: In the following two works, the author abstractly uses color blocks to express seawater and land, and highlights the theme by color contrast, which also plays a certain entertainment role. Such a work is easy to make people feel good and not easy to forget. The role of visual balance elements Any successful work has its own visual center (@) and its own visual balance point, that is, (@) the visual impact and visual center of gravity mentioned by the designer at this stage, and it also needs the embellishment of visual balance elements (some graphics or words) to distract some visual attention, eliminate visual fatigue, and let the audience appreciate the whole graphics to a greater extent, gain more understanding of the work, and then store it in memory. Evaluate the work. Several methods to create visual balanceNO. 1: color adjustment (using color contrast and saturation to adjust and disperse the influence of visual center on vision) NO.2: elements (using auxiliary graphics in the picture to induce some visual attention) NO.3: background application (considering the overall pattern, using the background picture to obtain the original conditions, through some skills, Leave the part that can distract the vision properly) NO.4: Using brightness (using the strong contrast of light brightness, refraction and extensibility of light to control the degree of visual dispersion) No.5: Using optical illusion (using visual space and visual error created by optical illusion) No.6: Visual breakthrough (using a small degree of damage to the overall design to achieve the effect of visual dispersion) (excerpt)-. In the process of creating graphic symbols, images are related to graphic modeling. Whether it is simple or complex, whether it is an individual or a group of graphics, the perception of images and the description of graphics are visually perceptible. Images in visual art have visual psychological effect, visual aesthetic effect and theme communication effect in visual communication. First, the visual psychological effect In the creation of graphic design, the visual psychological effect of image modeling is mainly manifested in the order, simplicity and singularity of graphics. Witt Harmo thinks: "A musical tone or a straight line is only a part of a tune or a figure, and the sum of the parts is not equal to the whole of the tune or figure. Only the overall characteristics of a tune or figure determine the function of a single tone or straight line. This kind of thing that gives the overall characteristics is shape and quality, which makes people understand the tone or recognize the picture. " Witt Harmo analyzed the auditory art and visual art from the perspective of holism, and we saw the meaning of "wholeness". In fact, the graphic design is carried out according to the principle of integrity, and only in the overall harmony of modeling can people feel happy. Harmony depends on order, which comes from the overall grasp, and the realization of modeling order must follow an important principle-grasping the overall image characteristics of graphics, and creating orderly and changeable visual images through the organization and conciseness of graphics and images, thus giving people visual and psychological pleasure in harmony. As far as the development of art is concerned, the simplicity of form is the expression of the progress of art itself and the psychological needs of modern people. Besides orderliness and conciseness, the defamiliarization of schema is also of great significance in visual communication. Defamiliarization is a kind of "expectation value" of visual psychology, which is opposite to "deja vu" and "similarity". Second, the visual aesthetic effect There are many factors that constitute visual aesthetic feeling in design art, covering materials, language forms, spiritual implications and so on. Image elements that convey language form and spiritual meaning play an important role in the formation of graphic aesthetic effect. The formal beauty highlighted by image modeling is an important factor of visual aesthetics. When artists experience things with artistic tools, they will "visualize" the characteristics of the object, pay attention to the plane or three-dimensional image of the object, downplay its details and highlight the formal factors embodied in its form, treat the figure's form or schema structure aesthetically in the image, or emphasize, summarize, or combine rigidity and flexibility, and deal with it in a natural state of perceptual preparation. This perceptual style leads to graphic design. When analyzing, transforming and synthesizing perceptual images and memory images, aesthetic imagination will process images based on subjective concepts and modeling experience, trying to grasp the essence of form and leave a strong formal aesthetic feeling for works. The beauty of image modeling not only externalizes the artist's creative artistic imagination, but also acts on the visual schema in turn, showing the visual aesthetic effect in the induction and organization of the schema. In the creation of form, rhythm also reflects the distinct visual aesthetic effect. Rhythm is the expression of force in the image, and the orderly organization and composition of graphic edges and schematic overall structure edges will cause obvious continuous fluctuation rhythm. As arnheim said, "All visual shapes are patterns of forces, and there are two kinds of forces, one is the real physical force, and the other is the psychological force intuitively perceived by the audience. In fact, illusory psychological force is the experience of physical force, which exists specifically for aesthetic visual perception in visual art, and has processed and surpassed the aesthetic significance of physical force and become a force that directly promotes the rhythm of picture form. " (2) On the one hand, the vividness of force pattern depends on color, pen, texture and modeling, on the other hand, it depends on the image rhythm formed by the relevant distribution of force. For the creation of graphics, a clear, complete and rhythmic image transmission will not only bring bright visual aesthetic effect, but also help to show strength and meaning. Third, the theme communication effect design art, like other works of art, has a certain meaning and affects people's aesthetics. What does this mean? Bell answered this question. He believes: "In different works, lines and colors form a certain form or the relationship between forms in a special way, which arouses our aesthetic feelings. This relationship and combination of lines and colors, these touching aesthetic forms, I call them meaningful forms. " From Bell's words, we can realize that what he said is actually the meaning in works of art, and the works of art that cause different feelings are the meaningful forms. Meaning permeates the communication of the theme, which is the embodiment of the thoughts and emotions of the aesthetic subject. As a modeling element, image directly affects the shape of graphics, and implies and conveys some thoughts and information through shape. In fact, paying attention to images in graphic design is not only a matter of graphic creation, but the ultimate goal is to appeal to the senses through the form of images and serve the transmission of themes or meanings. Generally speaking, there are two factors that stimulate people's aesthetic feelings in design art: one is aesthetic content, and the other is aesthetic form. The content is what Hegel said, abstract, hidden and untrue; Form is an image that appeals to the senses, and it is concrete, obvious and tangible. As the carrier of content, when expressing the aesthetic image of the subject, the image form participates in conveying the designer's intention. Of course, in the design process, the meaning of expression is different, and the image forms are also very different, but one thing is certain, that is, the aesthetic value of image combination forms is embodied in qi, potential and spirit, which is embodied in the meaning expressed by modeling forms. This is what designers want to convey, that is, aesthetic images. The so-called aesthetic image is the psychological process that works act on the audience, form some kind of appearance, and finally take on a new look under the fusion of this psychological factor through the logical abstraction of emotion and aesthetic attitude, and become an aesthetic image. The creation of image forms does not exist in graphic design alone, but plays an indispensable role in expressing feelings and feelings in works. There is no image that does not rhyme in art. If the complexity and simplicity of "image" form concrete and non-concrete expressions, then the strength of rhyme forms the strength of the expressive force of the work. No matter which expression method is adopted, it is particularly important to combine the image form with the rhythm and structure of the work, with the unity of phonology and with the theme communication.