C. Simplicity and Processing Fluency Theory Whether explicitly or subconsciously, we all have a preference or inclination toward a specific visual element. In Processing Fluency Theory, it has been defined that the easier, faster and smoother for the perceiver to process an object or information, he or she will consider the stimuli to possess a higher level of aesthetics.39 This denotes a positive correlation between simplicity and attraction. This theory takes both the subjective and objective factors into consideration. The subjective factor refers to the perceiver’s affective perception while the objective factor is determined by the object’s characteristics in context. 1
To manipulate the design, elements should be simple. Similarity is not merely referring to a piecemeal element but “the entire structural features that human minds is able to spontaneously understand with any given objects according to the laws of its context”.40 When creating highly complex motifs and operations, it is important to consider the sense of order within. The smaller the amount of information needed to define as compared to other alternatives, the more likely that the figure will be perceived more favourably.41 Designers could manipulate the audience’s eyeballs to direct their attention to the anticipated details. Although different operations could yield ample patterns, the concept of a sense of order (see above) is the key to maintaining that simplicity. Here, I must clarify that simplicity should be not interpreted as shallowness. Simplicity requires some correspondence in structure between meaning and tangible pattern. Therefore, designers have the autonomy to apply as many visual elements as they wish as long as they are essential and the combinations of them constitute to meaningful purpose or message. 2
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39 Rolf Reber, Norbert Schwarz and Piotr Winkielman. “Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver’s Processing Experience?” Personality and Social Psychology Review 8, no. 4 (Feb 2004): 364- 382, doi:10.1207/s15327957pspr0804_3. 40 Arnheim, Art and, 141. 41 Ibid., 55.
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