پیام رسانی فضای منفی در پوستر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نقش اصلی پوستر، انتقال پیام به مخاطب است که غالبا توسط فضای مثبت انجام می شود؛ حال آنکه فضای منفی که عمدتا نقش پس زمینه در پوستر را ایفا می کند نیز می تواند در انتقال پیام به مخاطب، نقش آفرینی کند. بر این اساس، هدف مقاله حاضر شناسایی روش های انتقال پیام به مخاطبان پوستر از طریق فضای منفی است . روش این تحقیق کاربردی، توصیفی- تحلیلی بوده و اطلاعات ضروری آن با استفاده از منابع کتابخانه ای گردآوری شده است. نتایج حاصل، حاکی از آن است که فضای منفی توانایی آن را دارد که از طریق "گستردگی" و یا " محدودیت" آن در پوستر، "رنگ"، "فرم نهفته"و " خطای بصری" مفهومی را به مخاطب منتقل کند. بدین گونه توجه مخاطب به فضای منفی پوستر، معطوف و سبب تاثیر بیشتر پیام در ذهن وی می شود. همچنین شیوه ی خطای بصری در فضای منفی به علت ابهامی که در پیش زمینه و پس زمینه بودن عناصر به وجود می آورد، بیشترین غافلگیری را برای مخاطب به همراه دارد. هر یک از روش های بیان شده به همراه نمونه پوسترهایی از سراسر جهان توضیح داده شده است. بنابراین روش های ذکر شده نقش موثری در انتقال پیام به مخاطب از طریق فضای منفی را دارند.messaging of negative space in posters
Each image is composed of positive and negative spaces. Researchers generally call the hollow space of an image and the background of the image objects as negative space. In Graphical works, especially posters, the negative space is very important as it can be seen by the audience and has effected in composition and attraction of the poster.As we know, The poster's major role is transferring the messages and concepts to the audience, which is often achieved by the positive space; Whereas negative space that mainly plays its main role as the background of the posters, a space for eye and mind relaxation or an emphasize to positive space, can also in the line with the concept of the poster, transfer the message to the audiences. This will increase and extend the effect on the viewer due to the coordination of negative space with the theme of the poster. Therefore, the aim and effort of this study is the identify ways of transferring the message to the poster's audiences through this type of space. Since in poster designs, the major focus and concentrate is often to positive space and less attention is paid to negative space, it is essential to realize the potentials of this type of space and its hidden characteristics. In this project, nine posters from the 10th Tehran International Poster Biennial, which its negative space has more messaging power has been chosen and analyzed based on visual principles. The method applied in this research is descriptive-analytic and its essential information is collected using library resources. The results indicate that the negative space has the ability to transfer the message to the audiences through its "broadness" or "limitations" in the poster, "color" , "latent form" and"visual illusion". In the technique of utilizing "form" in negative space, which is one of the influential methods on the audiences, using the factor of "closure", causes the viewer's participation in order to receive the message. This form can also be seen as an independent form or as a part of the positive form in the negative space.Taking advantage of the mentioned methods will attract the audiences' attention to the negative space and will result in increasing the influence of the message in mind.This is because audiences have got used to receiving messages through positive space and will pass next to it easilyIn addition, using a form with the technique of visual illusion in negative space, which can be created in a poster in the way of using "one form", "repeating a form" or "several different forms", and cuases ambibiguity in foreground and background of an images, attracts attention and creates more visual shock for the audiences.Because audiences do not often expect to see a form in the background of an image and also the movement of two spaces,there attention will be attracted mare than an ordinary image. therefore this method will provide greater surprise for the audiences, incompare to other methods.
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