Picture This: How Pictures Work

In this chapter, Bang delves into the fundamental elements that govern the emotional impact of pictures. She begins by discussing the pervasive influence of gravity, which she identifies as the most powerful physical force that humans are consciously aware of and subject to at all times. She explains how the force of gravity shapes people’s responses to horizontal, vertical, and diagonal shapes, as well as the placement of these shapes within a composition. Bang’s exploration of gravity lays the groundwork for the subsequent principles she introduces.

The first principle states that smooth, flat, horizontal shapes evoke stability and calm. She points out that these shapes are closely associated with the Earth’s surface, the horizon line, and the ground beneath one’s feet. Bang draws a connection between the stability of horizontal shapes and the fact that humans and objects are most stable when they are in horizontal positions, as they are not at risk of falling.

In contrast, the second principle highlights the dynamic and energetic nature of vertical shapes. Bang explains that vertical shapes seem to defy the earth’s gravity, reaching up toward the sky or the heavens. She compares this upward thrust to the growth of trees and plants, as well as the construction of tall structures like churches and skyscrapers. Bang emphasizes that creating and maintaining vertical forms requires a great deal of energy, implying vitality and power.

The third principle focuses on the dynamic qualities of diagonal shapes, which Bang associates with motion and tension. She points out that objects in nature that are positioned on a diagonal are typically either moving or subject to tensile forces, which stretch an object. To illustrate this principle, Bang provides examples of diagonal lines across a page, which can be interpreted as falling pillars or as visual elements that guide the viewer’s eye into the depth of the picture. She also draws comparisons between diagonal shapes and structural elements like table struts and flying buttresses, which provide stability through the application of tension.

Bang then introduces the concept of an invisible emotional horizon line that divides the picture into upper and lower halves. This fourth principle states that the upper half of the picture is associated with feelings of freedom, happiness, and power, and objects placed in this region often take on a more spiritual or ethereal quality. Bang explains that being positioned high up grants a tactical advantage and a sense of liberation from the Earth’s gravitational pull. In contrast, objects situated in the lower half of the picture tend to feel more grounded and connected to the Earth. Bang also notes that placing objects higher on the page imbues them with greater pictorial weight, naturally drawing the viewer’s attention.

Bang takes a moment to clarify that the principles discussed thus far are a result of gravity’s influence on people’s experiences in the world and their perception of the pictures they encounter. She then shifts her focus to the next set of principles, which pertain to a picture as a self-contained universe. Bang explains that the rectangular frame of a picture creates a “picture-world,” a distinct space that encloses the viewer’s attention and directs it inward, establishing a visual realm with its own internal dynamics.

The fifth principle asserts that the center of the page is the most powerful focal point and the area of greatest attraction for the viewer’s gaze. Bang illustrates this concept with an image of a red triangle surrounded by a white, spiky shape against a black background. She points out how the viewer’s eyes are drawn to the center of the composition and become trapped there. However, Bang also notes that shifting the main focus away from the center can create a more dynamic and engaging picture, encouraging the viewer’s eyes to explore the image. This also implies the existence of space beyond the frame.

Bang then turns her attention to the role of light and dark in pictures. The sixth principle states that white or light backgrounds tend to evoke a sense of safety and security, while dark backgrounds are more likely to elicit feelings of unease or danger. Bang attributes this difference to the fact that humans rely heavily on their visual perception, which is much more effective in well-lit conditions than in darkness. She explains that the color black is often associated with the unknown and the fears that accompany it, while white is linked to notions of brightness and hope. However, Bang is quick to point out that there are exceptions to this, depending on context. She also explains that both black and white are technically “non-colors” and can also be used to symbolize death. Additionally, she notes that bright and pale colors glow vividly against dark backgrounds, while they appear washed out or muted when set against white or pale backdrops.

The seventh principle deals with the emotional responses evoked by different shapes. Bang states that pointed shapes tend to elicit fear and unease, while rounded shapes and curves are more likely to provide a sense of comfort and security. She explains that this difference stems from the potential of pointed objects to pierce and harm, while curved shapes evoke embracing and protective forms found in nature, such as rolling hills, boulders, and the nurturing bodies of mothers.

The eighth principle addresses the significance of size in pictorial composition. Bang asserts that larger objects within a picture are perceived as stronger and more powerful, while smaller objects appear more vulnerable and less significant. She notes that this principle can help depict a protagonist facing a formidable threat, as scaling up the villain relative to the hero can heighten the picture’s danger and stakes.

Bang then shifts her focus to the influence of color on human perception, suggesting that it may even surpass that of other pictorial elements. Much of one’s emotional response to colors can be traced back to their associations with natural objects and phenomena. For example, red is often linked to blood and fire, white to light and snow, black to darkness, yellow to the sun, and blue to the sea and sky. Bang argues that these primary associations give rise to secondary associations, such as the perception of a white swan as purer than a mallard duck, or a red rose as a more potent symbol of love than a pink one.

With this, the ninth principle states that people have a much stronger tendency to associate objects of the same or similar colors than those of the same or similar shapes. To illustrate this point, Bang presents an image containing circles and triangles in red and black. She demonstrates that, at a glance, it is far easier to group the shapes by color than by their geometric properties.

The 10th principle delves into the power of regularity, irregularity, and the interplay between them. Bang explains that a certain degree of repetition can provide comfort, security, and predictability, while randomness and chaos can be more challenging and unsettling. However, she argues that perfect regularity and relentless repetition can be even more unnerving than randomness, as they suggest a cold, mechanical quality. Bang points out that such perfect order is not found in nature, and that both extremes of monotony and chaos can evoke a sense of lifelessness and threat. She suggests that life is characterized by a balance of predictability and surprise, using examples such as the changing seasons and the movement of a tree in the wind. Bang concludes that both monotony and chaos can be oppressive and threaten death, whether physical or spiritual.

The 11th principle emphasizes the importance of contrast in visual perception. Bang states that contrast enables humans to see and distinguish between different elements in a picture. This contrast can manifest through differences in color, shape, size, placement, or any combination thereof.

The 12th principle highlights the crucial role played by the spaces between shapes in determining movement and impact in a picture. Bang explains that negative spaces are just as important as the shapes themselves in guiding the viewer’s eye and shaping their emotional response. The viewer exists outside the picture until their gaze settles on an object within it, at which point they are drawn into the pictorial space. Bang illustrates this concept with an image featuring a lone black triangle separated from a group of similar shapes, emphasizing how the isolation of the single figure creates a sense of vulnerability and freedom. She also touches on the significance of overlapping shapes, noting that the overlapping object takes on the space of the one it covers, effectively joining them into a single unit. Bang observes that beginners in picture-making often struggle with overlapping shapes, as they instinctively wish to preserve the integrity and separateness of each element.

Bang then delves into depth, space, and time within pictures. She explains that depth and space can be created by arranging progressively smaller, thinner, and lighter objects so that their bases are positioned gradually higher on the page. This effect is enhanced if the spaces between the objects decrease in a regular geometric progression rather than a simple arithmetic one. Bang also explores the relationship between space and time in pictures, using the example of a small figure threatened by a large, monstrous aggressor. She demonstrates how the distance between the attacker and the victim influences the viewer’s perception of the available time for escape and, consequently, the level of tension in the picture. By positioning the two figures far apart, with the aggressor at one edge of the page and the victim at the other, Bang creates a sense of impending danger and a window of opportunity for the protagonist to flee or fight back.

Bang concludes the chapter by reflecting on the emotional impact of limited space within a picture. She observes that when the space around a figure is constricted, the viewer can experience a sense of being hemmed in or squeezed, amplifying the feelings of tension and vulnerability. This final point underscores the chapter’s overarching theme: The principles governing the composition and arrangement of shapes, colors, and spaces within a picture are deeply intertwined with the emotional responses they evoke in the viewer. By understanding and manipulating these principles, an artist can create pictures that not only convey a visual narrative but also resonate on an emotional level.