Gestalt and Web Design

An Introduction

When interacting with the physical and graphical worlds we are dependent upon the
visual sense to provide us with an accurate representation of objects, items, and
visual scenes. Without the capacity to form an accurate impression of our
environment, our every attempt to interact or use visual information to plan our
movements would either be error-strewn or significantly slower. We need only observe
the difficulties of those suffering with some form of visual deficit to appreciate how
important the visual sense is to our every move. As designers it is our job to support
users not only by providing them with the information necessary for their tasks, aims
and objectives, but to arrange this information in a way that promotes automatic
perception. In addition, you must present information in a way that enables the user to
focus on what they are trying to achieve, without having to devote significant amounts
of time translating their intentions according to the constraints of the product, device
or system they are interacting with.

Human vision is not a direct process where an exact representation is formed from
the light energy entering the eye. Instead, there are additive processes in the visual
system, which influence the mental representation we form for each visual event.
These processes convert light energy from our environment into meaningful and
usable representations of all visual elements. Without this ability, the world would
simply appear to be a mass of dissociated lines, curves, and shapes with other
environmental factors, such as shadows and light intensity, having little impact on our
understanding of what is present in our surroundings. The form-generating processes
in human visual perception have been the focus of much study; spawning numerous
schools of thought as a direct result.

Gestalt psychology has provided us with one of the most compelling accounts of the
processes that underlie human visual perception. The Gestaltists (Gestalt
psychologists) attempt to understand visual processing in terms of how cognitive
processes are organised, as opposed to investigating the elements of these cognitive
processes. The Gestalt approach emphasises the role of human perception in helping
us generate whole forms from the individual elements that comprise all meaningful
objects, items and visual scenes, and in a world where there is a constant supply of
competing visual information.

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Gestalt thinking has had a significant impact on the way we analyse visual displays;
providing us with a number of principles of perceptual organisation, which can be
used as design guides or important considerations when attempting to accommodate
the biases and quirks that characterise human visual processing. Throughout this
course we will describe these principles of perceptual organisation and provide
examples for each, stating how they have been employed in existing web designs to
support the nature of visual perception and, as a direct result, improve the user
experience associated with each design. Furthermore, we identify some of the main
benefits of adopting a Gestalt-driven approach to web design; again providing
examples of these benefits from successful designs. There is an emphasis on
demonstrating how the Gestalt principles directly impact on web user experience, to
not only show what you can do, but how you can implement changes to your designs
according to our perceptual biases.

By the end of Gestalt Psychology and Web Design: The Essential Guide you will:

● Understand how the Gestalt laws influence web user experience

● Be able to adopt a Gestalt-driven approach to web design
● Be able to analyse existing web designs according to the Gestalt principles
of perceptual organisation
● Have the knowledge necessary to design websites that support the quirks,
biases and defining features of visual perception
● Be equipped with the knowledge necessary to design displays that support
visual perception and improve the user experience associated with your
websites
● Have a deep understanding of human visual perception
● Appreciate how the human mind influences what we see and when
● Be equipped with an understanding of the Gestalt view of visual perception
and the principles of perceptual organisation

Within this course you will cover

● All aspects of the Gestalt approach to visual perception, encompassing:

● The origins of Gestalt thinking
● The Principles of Perceptual Organisation
● The grouping laws
● New grouping laws (Stephen Palmer, Irvin Rock and Diane Beck)
● Examples of these laws, and

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 ● How they influence our perception of the world

as well as...
● The Gestalt laws and how they relate to web design
● How to adopt a Gestalt-driven approach to web design
● Examples of the Gestalt laws in web design
● How to analyse existing displays in terms of the Gestalt laws
● The benefits of a Gestalt driven approach, and
● How to improve web user experience according to the Gestalt laws

You will also take away some of the best resources currently available and a
consolidated list of recommended reading materials, videos and useful links to relieve
you of the task of trawling the internet searching for that vital piece of information.

Recommended background: What should you know?

Regardless of whether you are new to web design or a seasoned professional, if you
would like to understand how designers can improve web user experience with a
Gestalt-driven approach then this is the course for you. By the end of the course you
should have a clear understanding of how you can produce web displays that support
and even exploit the nature of human visual perception. You do not need to have any
specific background either in web design, psychology or any other discipline to benefit
from Gestalt Psychology and Web Design: The Essential Guide, you simply need the
desire to learn and an interest in improving user experiences.

Please note: You can start this course at any time and there is no fixed time span for
you to complete the course. All of the course materials are available to you for the
whole duration of your membership and we will be marking questions for as long as
there are active members. Therefore, even if you are the only course taker at one time
we will still mark all of your questions. There is no specific date for the release of
course certificates; instead, you will receive a course certificate when you have
answered every question from all lessons within the course.

1.1: The Origins of Gestalt Psychology

Estimated time to complete: 4 mins

copyright: pd

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Structuralism

In the image above, Wilhelm Wundt (16 August 1832 - 31 August 1920) can be seen in
the first experimental psychology laboratory at The University of Leipzig. Wundt is
regarded as the founding father of experimental psychology. Wundt believed
psychology needed to focus on the person's subjective experiences and to analyse
consciousness under controlled conditions to derive an understanding of how the
human mind truly works.

Wundt's teachings stimulated the genesis of structuralism, a theoretical standpoint

developed in combination with Edward B. Titchener, a prominent British psychologist
who studied under Wundt at the University of Leipzig. Structuralism sought to
understand and explain the adult mind in terms of the simplest definable components
and how they are pieced together to create complex experiences, as well as how they
are correlated to physical, visible events.

By defining and categorizing the components of the human mind, structuralism

assumes we will achieve a better understanding of the structure and organisation of
the mental processes underlying human thought, in general, and higher order thinking.

Structuralism states perceptions are created through the unconscious combination of

elements called 'sensations' in the human mind. These sensations can be considered
as the dots that collectively form a face in pointillist portraits. Individually, the dots
mean very little, but when viewed as a component of an arrangement we form a whole
meaningful representation (i.e. a human face). Structuralist thinking gave rise to
Gestalt psychology; a theory of mind that describes human perception according to
the ways in which visual information is brought together to form whole, meaningful
objects from individual visual elements.

The Founding Fathers of Gestalt Psychology

In 1911, Max Wertheimer (April 15, 1880 - October 12, 1943), one of the three founding
fathers of Gestalt psychology with Kurt Koffka and Wolfgang Kohler, alighted a train at
Frankfurt station and purchased a toy stroboscope. This toy is a mechanical device
that creates the illusion of movement through the alternation of two slightly different
images, such as the bird in the cage optical illusion.

This led Wertheimer to ponder how structuralism could possibly explain such a
phenomenon. The illusion of movement induced by alternating fixed images is termed
apparent movement. Wertheimer pondered this illusion and acknowledged
structuralist theory could not account for apparent movement, as the emphasis is on

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the individual components that comprise the 'whole', rather than the 'whole' itself.
Therefore, some alternative theory was required to accommodate the phenomenon of
alternative movement, and 'hey presto!' Gestalt psychology was born.

Explaining a perception that is present one moment and absent the next, in terms of
structuralism's 'sensations' idea is difficult, especially as the maintained retinal image
is the same as the image whether visible or not. This led the Gestalt psychologists
Wertheimer, Koffka, and Kohler to propose that, in terms of human perception, 'the
whole is different than the sum of its parts', which is often misquoted as 'the whole is
greater than the sum of its parts. They claimed that perceptual organisation underlies
human perception we perceive the whole object before the component parts.

In Summary

To this day, Gestalt psychology stimulates thinking in a variety of academic and

practical fields. In particular, Gestalt psychology is often applied to user interface
design, as the organisation of visual displays is heavily influenced by the perceptual
biases that influence and help to create our perception of the world. The organisation
of human perception is still somewhat of a mystery; however, we share a common
experience of the world and everything within it; by investigating these common
features and regularities, we can better understand how to design according to the
capacities and quirks of human perception to provide better user experiences.

1.2: The Underlying Principles: Gestalt Psychology

Estimated time to complete: 6 mins

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Recognition of meaningful items, objects or any other visual element does not occur
through a process of identifying and piecing together composite parts. Instead, we
identify whole meaningful objects immediately and without conscious effort. For
instance, take a look at the black and white image above (from 'The Intelligent Eye' by
Richard Gregory); do you see anything meaningful?

Emergence

Now, if you have failed to see it already, within this image there is a Dalmatian dog
sniffing at the foot of a tree. When you noticed the dog did you have to identify a nose,
ears, eyes, the spots of the dog and the tail? It would not be presumptuous to assume
you simply saw the dog immediately once you were made aware there was some
meaningful 'whole' visual element to seek out. The perceptual phenomenon

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demonstrated with the Dalmatian image is referred to as 'Emergence', which captures
the sensation of meaningful elements seemingly emerging from our visual scene.

The principle of emergence is central to Gestalt thinking; we experience the world

unconsciously and automatically, with very little effort committed to analysing our
surroundings to configure whole, meaningful objects, which is something that must be
accounted for in any theory of human perception. However, Gestaltism is underpinned
by the belief that '...the whole object is other than the sum of its parts', suggesting by
combining these elements, human perception helps to create our experience of an
object or scene, as opposed to the individual parts representing the complete
sensation.

In Summary

Emergence is a key Gestalt principle that describes the perceptual experience of

meaningful elements appearing instantly from a scene, without conscious
identification of the elements that comprise the whole object. Emergence is
demonstrated in almost all visual events, but illusions such as the 'sniffing Dalmatian'
provide us with an 'aha!' experience that really brings this principle of perceptual
organisation to life.

1.3: Reification: Gestalt Psychology

Estimated time to complete: 8 mins

copyright: pd

The Underlying Principles

The three figures shown above exemplify the capacity of the human visual system to
generate complete forms from limited sensory information. In the bottom left we see
either a complete, six-point star or a whole, white circle set within these points, the
dotted lines in the middle of the image are seen as a complete winding curve, and the
top right figure is perceived as a whole circle dissected by two white crosses.

All of these perceptions represent continuous forms where the actual, available
sensory information is not as explicit or complete. The visual system effectively fills in
the blanks to generate a more complete image than the sensory stimulus actually
provides.

Reification and Form Generation

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The form-generating capacity that underlies human perception was documented and
highlighted by early Gestalt psychologists. The Gestaltists referred to this perceptual
ability as reification, which is the conversion of an abstract concept into something
concrete. When we are only provided with part of a whole picture or an object is
obscured, our visual system attempts to construct a complete impression in the mind
to make the scene more meaningful and less confusing.

If the visual system made conclusions on the basis of limited sensory information, we
would frequently derive the wrong impression from our environment. For example,
think of pint glasses stacked on a shelf; when we go to pick one of the glasses from
the back (i.e. one obscured by those at the front) we have a complete mental image of
the glass; we do not think it begins and ends at the visible portion (e.g. the rim of the
glass).

Therefore, we can prepare to pick the glass up whilst accounting for the length,
weight, width, and any other factor that will determine grip, pressure and the speed we
lift the glass. For this reason, human perception is said to be constructive, in that a
whole mental representation is constructed from less explicit sensory information.
Therefore, the visual system helps us to form a comprehensive view of our
surroundings, even when there is a restricted amount of information available.

Reification Arises From Illusory Contours

Reification is thought to arise from illusory/subjective contours, which evoke the

perception of an edge without luminance or colour change across that edge. Friedrich
Schumann, one of the founding members of the "Society for Experimental Psychology"
which was instrumental in the development of Gestalt theory, is often credited with
first identifying illusory contours.

However, illusory contours were being exploited in art from the Middle Ages, so our
awareness of this perceptual quality dates back long before the Society for
Experimental Psychology was established in the late 19th century. Perhaps the most
common example of illusory contours in action comes from Kanizsa's Figures, which
perfectly demonstrate how we perceive clearly defined shapes when the contours
required to generate such a shape are not present.

In Summary

We are often deprived of a complete view of our surroundings and objects within it;
therefore, human perception has to fill in the blanks to help us form a complete and
meaningful mental representation of each and every visual scene. The perceptual

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ability to form complete representations from limited sensory information is referred
to as reification, and represents one of the key principles that underpin Gestalt
thinking.
1.4: Multistability: Gestalt Psychology

Estimated time to complete: 8 mins

copyright: pd

The visual system is capable of interpreting visual information in a number of different

ways. When images are ambiguous and present two or more possible, meaningful
interpretations we experience the sensation of switching between them. This
perceptual phenomenon is referred to as multistability, which is also a key principle
from Gestalt descriptions of visual perception.

The three figures demonstrate multistable perception, which refers to a phenomenon

where ambiguous shapes, images, and scenes are perceived as multiple, meaningful
forms, depending on shifts in attention and other spontaneous, subjective changes
(e.g. the form identified by text or indicated by another person). Research, theories,
and evidence for multistable perception typically focus on visual perception, but it is
not specific to the visual system; this phenomenon is also observed with auditory and
olfactory stimuli.

Multistability Examples

Multistability was observed and described by Gestalt theorists in the nineteenth

century, and the perceptual phenomenon represents one of the key principles in the
Gestaltists' view of visual perception. The sensory experience of switching between
multiple interpretations of an image/figure/shape/form/scene is observed with the
three exemplars provided. With the first image we alternate between two potential
interpretations: white arrows or black figures somewhat reminiscent of the heads on
Easter Island.

The second image (a Necker cube) has three potential interpretations: a cube facing
south-westerly, a cube facing north-easterly or a 2D shape consisting of a series of
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intersecting lines with a diamond in the centre. Typically, we alternate between the
two cube interpretations; however, it is often difficult to consciously force oneself to
achieve the alternative interpretation when we have identified one particular cube
form.

The third example of multistable perception is an ambiguous image, which has two
common interpretations: a duck or a rabbit. The alternation between interpretations
usually occurs according to where we fixate; if we focus on the left-hand side of the
image we generally see a duck, whilst focussing on the right-hand side stimulates the
second interpretation (i.e. a rabbit).

The three examples highlight the unconscious effect the visual system has on what
we perceive. We can fixate on different parts of the image or try to force ourselves to
achieve a particular interpretation, but it is by and large out of our control. If we are
drawn to a certain interpretation by someone else or the image is accompanied by
some descriptive text, we are often oblivious to the alternative interpretation, but once
the visual system has detected the presence of another meaningful form multistability
is then experienced.

In Summary

The visual system is capable of interpreting visual information in a number of different

ways. When images are ambiguous and present two or more possible, meaningful
interpretations we experience the sensation of switching between them. This
perceptual phenomenon is referred to as multistability, which is also a key principle
from Gestalt descriptions of visual perception. Whilst certain factors can bias the
initial interpretation we arrive at when scanning an image, object etc, multistability is
largely out of our conscious control. For this reason, multistable perception is referred
to as stochastic, in that it occurs randomly and the shift from one interpretation to
another is difficult to anticipate.

PLEASE ANSWER THE FOLLOWING QUESTIONS

Question 1

Which of the following options is a common example used to demonstrate the

principle of "Multistability"?
(1 point)
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The Upside Down Sombrero
The Ambiguous Alligator
The Necker Cube
Submit your answer
Question 2

Please outline the principle of Multistability and provide one example of this
perceptual phenomenon within your answer.
(5 points)

1.5: Gestalt Principles of Perceptual Organisation

Estimated time to complete: 7 mins

copyright: pd

The Underlying Principles

Invariance represents one facet of human perceptual organisation. We are capable of

recognising most shapes and figures in spite of natural and artificial variation. Without
the principle of invariance, our ability to recognise shapes, objects, and any other
visual element would be greatly affected, and this would also have a significant
impact on the amount of cognitive effort required when assessing any changing
scene.

Invariance

The graphic above shows four geometrical objects under various conditions;
collectively they illustrate the Gestalt principle of 'Invariance'. The Gestalt principle of
invariance is used to describe the human perceptual ability to perceive simple
geometrical objects as constant regardless of their ( A.) rotation/orientation, (B.)
translation, (C.) scale and elastic deformations, (D.) lighting and variation in
component features.

The principle of invariance is not specific to the perception of inanimate objects, as

invariance is also demonstrated in our ability to recognise faces regardless of the
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expression being made. The capacity to perceive things as constant regardless of
natural (e.g. facial expressions) and artificial variation (e.g. as seen in graphical
displays) is key to our ability to interact with the environment, as it enables us to
classify and recognise animate and inanimate things regardless of inevitable
variation.

The principle of invariance is an innate human ability that is difficult to replicate in

computing. However, advanced facial recognition software demonstrates invariance
in technology. Facial recognition by computers occurs through a process of
identifying features such as eyes, ears and noses then measuring invariable elements
of face structure, such as distance between features and basic shape. Therefore,
technology is advancing to imitate our perceptual abilities, but there is little
competition for human perception, as we are capable of identifying invariance
unconsciously, immediately and across almost all two- and three-dimensional forms.

In Summary

Invariance represents one facet of human perceptual organisation. We are capable of

recognising most shapes and figures in spite of natural and artificial variation. Without
the principle of invariance, our ability to recognise shapes, objects, and any other
visual element would be greatly affected, and this would also have a significant
impact on the amount of cognitive effort required when assessing any changing
scene.

Therefore, invariance is essential to human functioning, without it the world would be

incongruous and confusing; requiring continuous analysis to establish constants in an
ever-changing world. However, Gestalt psychology simply describes this perceptual
phenomenon, and it would appear we are little further towards an understanding of
how we recognise in spite of variations in scale, lighting, rotation/orientation, elastic
deformations, and component features.

PLEASE ANSWER THE FOLLOWING QUESTIONS

Question 1

Please define "Invariance" as a Gestalt principle of perceptual organisation.

(5 points)

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1.6: Figure/Ground Organisation: Gestalt Psychology

Estimated time to complete: 8 mins

copyright: pd

Figure/ground organisation was observed and described by early Gestalt

psychologists. They documented the human ability to focus attention and filter out the
rest of the visual scene. This perceptual ability enables us to focus on relevant or
meaningful elements within our surroundings to ensure our mental energy is devoted
only to these elements.

When we view any scene, we must identify the most important and personally relevant
parts in order to direct our attention and conserve time and effort. Human perception
biases our view to help us focus on specific elements and filter out the rest of the
scene. This perceptual phenomenon is a key principle within Gestalt psychology and is
referred to as figure/ground organisation'.

The term figure/ground organisation is used to capture the sensation of an element or

part of a visual scene appearing as if it is above or in front of everything else within
view. For example, in the left-hand circle the black section appears to be in front of the
white area; in contrast, the circle on the right creates the sensation that the white
sections are in the foreground and the black area is the background.

By switching our focus, the opposite holds true in both cases. Therefore, the
figure/ground distinction arises as a result of our focus of attention (i.e. where we are
looking) and the perceptual ability to limit the amount of attention dedicated to all
elements outside of our focus.

The Significance of Figure/Ground Organisation

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Figure/ground organisation is a significant aspect of human perception and was likely
essential to our ancestors. Imagine how much longer it would take to detect a
predator in the distance if all elements were equally arresting in our visual field.
Therefore, an ability to isolate individual elements from the overall scene represents
one of the perceptual capacities that enable us to navigate the world safely and
confidently. We do not have to concentrate on extreme examples to appreciate how
difficult our lives would be without figure/ground organisation; simply choosing an
option on a vending machine or locating a socket on a wall would be more time-
consuming are prone to erroneous actions.

In Summary

Figure/ground organisation was observed and described by early Gestalt

psychologists. They documented the human ability to focus attention and filter out the
rest of the visual scene. By switching our attention from one area of a display to
another the meaning can change in turn. The most common example used to
represent this phenomenon is the faces-vase drawing, which was described by the
Danish psychologist Edgar Rubin.

The key to this change in perspective (from faces to a vase) arises from a switch in
attention or a change in edge assignment. In the faces-vase image, when the curved
edges are assigned inward we see a vase, whilst the two faces are perceived when the
curved edges are assigned outward. Therefore, the Gestalt principle of figure/ground
organisation observes the effect of attention on our view of the world.

PLEASE ANSWER THE FOLLOWING QUESTIONS

Question 1

Figure/Ground organisation is...?

(1 point)
Entirely dependent on a strong colour distinction between the foreground and
background
Affected by attention
An uncommon quirk of human perception
Submit your answer
Question 2

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Please describe how "Figure/Ground" organisation affects human perception. Please
also provide examples within your answer.

1.7: The Law of Pragnanz: Gestalt Psychology

Estimated time to complete: 3 mins

copyright: pd

The law of Pragnanz describes the tendency to see stimulus patterns in as simple
form as possible. The simplification of object perception plays an essential role in
helping us see order and regularity in a world of constant distractions and visual
competition; with innumerable elements constantly fighting for our limited attention
and processing capacity.

'Pragnanz'

When we view a series of connected shapes we could perceive any number of

different permutations of the component pieces. For example, the linked circles at the
top of image above could be seen as a series of 'C-shapes' and three lens-shapes, but
the majority of us will have immediately seen five interlocking rings. The phenomenon
of perceiving visual elements or scenes in their simplest form is referred to as the
'Law of Pragnanz', which translates as the law of 'good figure'.

The law of Pragnanz is a Gestalt principle of perceptual organisation, originally

identified by the Gestalt psychologists Max Wertheimer, Kurt Koffka and Wolfgang
Kohler, when accounting for the human tendency to see simple forms rather much
more complicated formations. The unconscious detection of the simplest form
possible plays an essential role in helping us see order and regularity in a world of
constant distractions and visual competition; with innumerable elements constantly
fighting for our limited attention and processing capacity. Such is the dominance of
Pragnanz that we take for granted the many ways in which objects could be perceived,
which is evidenced by the two graphics shown above.

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We are constantly trying to order and make sense of visual information; regularity
means we can extrapolate from one situation to another. Without the normalisation of
visual information we would see dissociated lines, curves, blended colours, there
would be no regularity to help us recognise anything. Furthermore, if we are unable to
normalise information entering the brain through the visual organs, everything must be
processed as if it were new, consuming an enormous amount of processing power
and attention.

Not only does the law of Pragnanz benefit the allocation of limited processing and
attentional resources, it helps the majority of us to see things in the same way as one
another. Consider the task of asking someone to collect an item from another room
for you; if we see things in completely different ways, it would be nigh on impossible.

Therefore, the law of Pragnanz, along with the other Gestalt principles of perceptual
organisation, plays an immeasurable role in ensuring we can interact with our
environment safely and without the need for constant, effortful analysis of our
surroundings. Imagine where our ancestors would be if they had to focus on a shape
in the distance and analyse its many possible forms before they were able to tell
whether it was a predator; they would likely have barely lasted a day, signalling the end
of humankind before it had truly begun. We cannot underestimate the importance of
the neural processes that bias human perception in such ways to ensure we see
regularity, structure, order and form where we could just as easily not.

The Gestalt principles may only outline the many perceptual biases that underlie
human perception, but they help us appreciate the amazing capacity of the human
mind to process an enormous amount of disconnected information into a coherent,
meaningful and usable representation of the world to help us interact with our
surroundings safely, securely, confidently, quickly and accurately.

In Summary

The law of Pragnanz describes the tendency to see stimulus patterns in as simple
form as possible. The simplification of object perception plays an essential role in
helping us see order and regularity in a world of constant distractions and visual
competition; with innumerable elements constantly fighting for our limited attention
and processing capacity.

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PLEASE ANSWER THE FOLLOWING QUESTIONS

Question 1

Human perception is amazing because...?

(1 point)
A huge majority of us share a common experience of the world
We can consciously choose how to perceive the world
A number of theorists said so
1.9: The Gestalt Laws of Perceptual Organisation

Estimated time to complete: 2 mins

copyright: allRightsReserved

Playing with perception

Human visual perception is marked by an innate drive to 'convert' visual information

into familiar and personally meaningful representations of our environment. A by-
product of this drive can be seen in the way we perceive optical illusions, such as the
superhero-inspired image above. Our perception of the image varies depending on
where we fixate. This aspect of visual perception allows us to make multiple
interpretations of the same visual scene; however, aside from determining eye
fixations, much of this is beyond our conscious control.

We cannot choose to see Wolverine, nor can we choose to see two Batman figures.
Our sense-making capacity must be instant to enable interaction with a world that
refuses to wait for us. This immediacy leads us to make certain interpretations of the
world, which presents designers with the opportunity to direct their users to see what
they want them to see.

PLEASE ANSWER THE FOLLOWING QUESTIONS

Question 1

The perceptual experience of alternating between the Wolverine figure and the two
Batman figures is an example of which Gestalt principle of perceptual organisation?
(1 point)
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Multistability
Invariance
Incompatibility

1.10: "Wolf in Sheep's Clothing": Playing with perception

Estimated time to complete: 1 min

copyright: allRightsReserved

The 'Wolf in Sheep's Clothing' optical illusion from Redux Magazine serves as an
example of playing with perception. For designers, the Gestalt laws of perceptual
organisation should not be thought of as purely descriptions of perceptual
phenomena; instead, they present us with ways and methods of viewing and analysing
visual scenes, displays and individual elements. Collectively, they allow us to innovate
and improve viewing and user experiences.

The Gestalt laws do not just enable designers to improve the functional aspects of the
viewing and user experiences. They can be utilised to enhance the pleasurable,
aesthetic, and fun qualities within our products.

PLEASE ANSWER THE FOLLOWING QUESTIONS

Question 1

The 'Wolf in Sheep's Clothing' image demonstrates how the Gestalt principles of
perceptual organisation...?
(1 point)
can be used to play with our perception of the world
can help circumvent our form-generating bias
can be used to introduce new colour experiences

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