Picture This: How Pictures Work

In Picture This, diagonal shapes or lines are described as those that are slanted or tilted, deviating from the horizontal or vertical orientation. Bang emphasizes that diagonal elements create a sense of movement, tension, or dynamism in a picture, as they suggest instability or potential energy. She relates this to the idea that objects in nature that are positioned on a diagonal, such as falling trees or sloping hills, are often associated with motion or change. Bang also notes that diagonal lines can be used to guide the viewer’s eye through the picture, creating a sense of depth or direction.

In art, a diptych is a work consisting of two panels or plates that are hinged together, often used for altar paintings or other decorative purposes. In Picture This, Bang employs the term “diptych” to describe how each spread in a picture book is divided into two separate pages by the book’s binding. She emphasizes that illustrators must consider this division when creating their artwork, as the two pages are interconnected panels that influence the viewer’s perception and emotional response to the illustration.

The edge refers to the boundary or perimeter of a picture, which separates the picture-world from the space outside it. Bang explains that the edges of a picture create a sense of enclosure and containment, focusing the viewer’s attention inward. She also notes that placing elements near the edges can create tension or anticipation, as the viewer’s eye is drawn toward the boundary and then back into the picture. According to Bang, the closer an object is to the edge, the greater the sense of visual tension or pressure.

The emotional horizon line is an imaginary line that divides a picture into upper and lower halves, each associated with different emotional qualities. Bang explains that the upper half of a picture is often associated with feelings of freedom, happiness, and power, as it suggests rising above the ground or escaping the pull of gravity. Conversely, the lower half is associated with groundedness, stability, and sometimes heaviness or restriction. Bang relates this to the principle that placing elements above or below the emotional horizon line can influence the viewer’s emotional response to the picture.

Gravity is described in Picture This as the fundamental force that pulls objects downward, influencing the perception of stability, weight, and orientation in a picture. Bang emphasizes that gravity is one of the most basic and universal aspects of human experience, and humans’ understanding of it shapes their emotional responses to visual elements. Horizontal shapes or lines, which are parallel to the ground, create stability and restfulness, while vertical or diagonal elements create energy or tension by resisting the pull of gravity.

In the context of book design, the gutter refers to the inner margins of facing pages where they meet at the binding. Bang uses the term “gutter” to describe the physical split between the two pages of a picture book spread. Bang emphasizes that illustrators must be aware of the gutter and how it interacts with their artwork. The gutter can potentially disrupt the flow of an illustration if not taken into account during the composition process. By acknowledging the presence of the gutter, illustrators can create artwork that effectively bridges the gap between the two pages, ensuring a cohesive and visually appealing spread.

Horizontal shapes or lines are parallel to the horizon or perpendicular to the force of gravity. Bang explains that horizontal elements create stability, calmness, and restfulness in a picture, as they suggest a state of equilibrium or repose. Bang asserts that the human eye is naturally drawn to horizontal lines, as they resemble the natural horizon or the resting position of the body. Bang also notes that horizontal shapes can be used to create a sense of grounding or foundation in a picture, anchoring the composition.

Movement and tension refer to the dynamism, energy, or anticipation created by the arrangement of shapes, lines, and colors in a picture. Bang explains that the careful use of these elements can create motion or force, even in a static image. She relates this to the principle that diagonal lines or shapes, as well as asymmetrical compositions or contrasting colors, can create visual tension or excitement, leading the viewer’s eye through the picture and suggesting a narrative or emotional arc.

Natural constants are objects or phenomena in the natural world that are consistently associated with specific colors, such as blood and fire with red, light and snow with white, or the sky with blue. Bang argues that these associations are deeply ingrained in human perception and psychology, and they shape people’s emotional responses to colors in art and design. She says that the use of colors that resemble natural constants can evoke specific emotions or meanings, even in abstract or stylized images.

Noncolors refer to black and white, which are not considered true colors but are associated with the absence of light (black) or the presence of all colors (white). Bang explains that black and white have unique psychological and symbolic meanings, often associated with darkness and light or with death and purity.

Perfect chaos, as described in the book, refers to a state of complete randomness or disorder in a picture, in which there are no discernible patterns or structures. Bang argues that perfect chaos can be unsettling or overwhelming to the viewer, as it provides no sense of orientation or meaning. She asserts that a certain degree of order or regularity is necessary for a picture to be emotionally engaging or aesthetically pleasing, and too much chaos can be alienating or confusing.

Perfect regularity is the companion to perfect chaos. It refers to a state of complete uniformity or repetition in a picture, in which every element is identical and predictable. Bang argues that perfect regularity can be monotonous or unengaging to the viewer, as it provides no sense of variety or surprise. A certain degree of irregularity or asymmetry is necessary for a picture to be visually interesting or emotionally compelling, and too much regularity can be boring or lifeless.

The picture-world, as described in the book, refers to the self-contained universe created within the boundaries of a picture. The picture-world has its own internal logic and relationships between elements. Bang argues that the picture-world is a unique and autonomous space, separate from the real world, in which the usual rules of physics or perception may be altered or suspended. The elements of a picture are not just representations of real objects but are also abstract shapes and colors that interact with each other in complex and meaningful ways.

Space and time, as described in the book, refer to the perception of depth, distance, and temporal progression in a picture, often influenced by the arrangement and interaction of shapes and colors. Bang explains that the careful use of perspective, overlapping, and size relationships can create a sense of three-dimensional space within a two-dimensional image, while the positioning and orientation of elements can suggest movement or change over time. The manipulation of space and time in a picture can create a sense of narrative or emotional development, guiding the viewer’s experience.