Tim McCreight, the author of Design Language, wrote: “Our need for wholeness is so great we assemble elements into as large a unit as possible. We will see a row of dots as a dotted line rather than a collection of small marks” (1996). This is just one example of the gestalt theory. It has gained world recognition and has become part of an artist’s formal study. Surprisingly, *gestalt* is not the name of the person who discovered the series of visual perceptions which are now recognized as design laws; instead, the word *gestalt* means “form or shape.”

The gestalt theory originated with Wertheimer, and he believed the human brain predictably organizes and groups forms and shapes by grouping them in certain ways. Gestalt theory includes: “the law of similarity, the law of proximity, the law of continuation, and the law of common fate” according to Paul Martin Lester, the author of the book Visual Communication.

Gestalt psychologists continued Wertheimer’s work which began back in the 1920’s. Artists want to know how the mind sees and organizes visual information. Improved understanding of how designs and patterns are viewed as a whole and not strictly by the parts is helpful to artists, because they can use these laws as guidelines as they work.

Due to the gestalt theory, an artist has a better idea as to how much or how little information should be in their graphic designs and artwork. Not only this, but the knowledge of the gestalt theory allows artists and designers to know where they can take visual liberties as they design. Gestalt theory shows how the human mind completes the missing parts and details by grouping, connecting, and separating the varying shapes and forms.

No doubt about it, the gestalt theory is fascinating. To learn more about it, take time to read information about “the law of similarity, the law of proximity, the law of continuation, and the law of common fate.” (revised 2/15/2006)