This clause(article) will interest designers more. Those from them who has higher education in this area, are already familiar with many, from the facts listed here. But the statistics shows, that the basic percent(interest), even known designers, has no specialized education.

I often meet reasonings, that web the design is a registration of the information. Speak about him as an element existing separately from the text and having the rules and laws. Do not overlook to mention his(its) importance (usually the general(common) phrases).

âåáäèçàéíÑòîï! And unless the schedule, color, the text, headings and all composition does not make the information maintenance(contents) of page? The basic percent(interest) of the information received by the person, is perceived by sight. On statistics 83 % of the information visually are perceived. And 40 % from it(her) are remembered by the person (against 20 % from heard!). And the image can bear(carry) in itself nearly less (and sometimes and more) information, than the text. But how to connect them together? How to force design to bear(carry) a subject of page? It already a question of psychology.

No, we shall let alone Þíãà and Freud with their fundamental theories and we will address to applied psychology. Any image causes in the person of association. But a problem that one subjects, plots or graphic elements cause in all people (more correctly, at many) identical associations, and others - completely various. And, if you wrongly build an associative number(line) it is possible to get(start) the user at all there where you would like. Therefore, for construction of steady associations, moods or an image, often it is necessary to supplement a composition with elements, strengthening a thematic line. Such elements can be everything: the image, a word (a primary source of the information) or the whole phrase, a line, ðàçìûâêà, a collage. The main thing to aspire not to blind complication, and to creation of steady associative lines on a concrete subject and according to problems(tasks) facing to a site.

You, probably, have already noticed, that on complex(difficult), detailed, sometimes not understandable at first sight images, it would be desirable to detain a sight - to the spectator interestingly " to solve a riddle " and the solution of sense brings aesthetic satisfaction and positive emotions. Such "charades" on for a long time remain in memory. But not many of them really bear(carry) a subject or mood. The majority is similar to a simple mosaic, concourse of the graphic information not connected among themselves. Creativity of the designer in individual jobs can be any is his(its) private affair. The concept " design for the sake of design " here works. Often turning to aspiration ýïàòèðîâàòü the spectator. But in registration of the concrete order designed for the big and various audience, it is important to not overdo. The user, looking through registration, always aspires to draw a conclusion, searches for completeness in understanding of the submitted information. And having made it(him), tests aesthetic satisfaction. The problem(task) of the designer to help him with it. To construct a firm, concrete associative number(line), opening a subject. The simple example - when is used the turned text. It is a simple barrier to his(its) perception(recognition) and the user is capable to read this text, but the decision of this riddle brings subconscious pleasure and concentrates attention on this word or a phrase. Other business - whether pertinently such action in a concrete situation.

Now, about ways and tools. The first on what it would be desirable to stop attention are ways of carrying out of the user on a composition, construction of associative lines in the necessary direction. The perception(recognition) of the text information (in the majority of languages) occurs from left to right and from top to down. This rule well helps in caricatures (enough a simple example) when there is a subject text (for example, a question - the answer). That the spectator has correctly understood a plot, it is necessary to force to read it(him) all over again a question, and then the answer. The text of a question is born(taken out) on the top of the image, the text of the answer downwards is closer to the left corner, and the image or more to the right from a question. It is the first principle, but there are also other ways to concentrate attention on concrete details. There is still a spatial concept of perception(recognition) of the information. That is closer (in the foreground) it is perceived earlier, something, that on back. The effect of a background can be received enough strong ðàçìûâêîé. The object, with normal sharpness, will look located on the foreground, and to be perceived by the first. Large and bright enough (contrasting) elements as are perceived before fine, detailed. Any "selected" object in a composition to become the thematic or semantic center. Experts "Ñòðîãàíîâêè" advise to use no more than 3 thematic centers at 5-7 managing elements (in promotional materials even less). I shall leave it without comments, but in some situations I shall allow itself to not agree. To take even the compositions based on use of a rhythm...

One more way to concentrate attention on a concrete detail is an illumination. Any light source is guaranteed the attention forces to pay to itself. Even the shadow and blackout of some details means existence of a light source. And the blacked out details are pushed aside brighter, covered. But, using effect of illumination (bringing a light source), it is possible to make a gross blunder. The human eye easily distinguishes wrong (not natural) imposing of shadows. On this, to concepts of light and a shadow pays very big attention in the program of training of artists. One example from my practice. Long discussions of the light circuit in design a breadboard model, have called natural aspiration to creativity the client (often enough situation). But his(its) offer ïîâåðãëî me in a shock. He has suggested to make a graphic element darkly dark blue color, and a shadow from him(it) yellow! Belief, what is it it is not correct, have generated a question:... But this can be drawn? It is possible, certainly, but.. .. I not want. Such "farfetched" graphic decisions are unnatural. The similar lie subconsciously causes feeling of doubt and mistrust.

There is one more danger. Never try to play with proportions and prospect in realistic images and collages without a specific goal. Laws of spatial geometry and natural proportions are laws of the nature. Ask people having the maximum(supreme) art education, what is the time they have devoted to studying of prospects and proportions. The human eye easily notices lie in this area. Also there is a danger, that the user subconsciously, distracting from a subject, will concentrate attention on search of a source of visual discomfort in the image and will draw completely other conclusions, than you would like. Other situation when it is made meaningly, focusing attention to it (for example to call visual paradox). Then, it is necessary to try to clean(remove) other complex(difficult) elements, avoiding conflicts.

Now, it is a little about "eternal" - about color. You, most likely, more than once read various materials on this subject and not time saw clauses(articles) about psychological perception(recognition) of colors. I advise always skeptically to approach(suit) to this question. We shall leave indisputable physical aspects of a combination and properties of colors, and we shall stop on psychology. Many conclusions are made on a basis enough disputable statements. In a question of perception(recognition) of concrete color, psychologists approach individually to each person. The matter is that concrete color at everyone associates with concrete image, a thing or event in his(its) life and is in subconsciousness of the person. And these associations can be various - both positive, and negative. It to concern not to all colors successively, but only to some basic (at all differently). Still, the perception(recognition) of color can carry a thematic orientation. For example, red. In technical area he symbolizes danger, and in the field of a fashion sensuality and boldness. If to take red color in the nature, most likely, he will generate associations with sweet of ripe berries. And in social sphere he will force to recollect communism, but at inhabitants of other countries of it can and to not be. Various enough picture of the associations connected to red color has turned out. Also it is possible to forget many unequivocal statements safely. On this, very cautiously choose colors for each concrete situation and avoid pressure of one continuous color, not having thought over subjects of color. Perhaps, at the most important client, he will call completely negative associations. Do not hesitate to interrogate familiar, at construction of a composition, being interested in their opinion and associations is very useful practice.

Lines, the arrows(pointers), the directed gradient, a rhythm cause steady directing, specifying influence. But, using them, avoid a situation when to have to look through a composition " against a wool ". It causes discomfort at a level of subconsciousness and subconscious desire to find his(its) reason.

The font also can cause various associations. For example, the Gothic font causes associations with culture of Europe and he cannot be applied in a subject of other cultures or the historical period. But it already the typographics and for studying her(it) exists the special literature (for example, book  "Typographics").

If you web the designer you can have one more problem - process of loading of page. It will be insulting, if the elements managing an associative number(line), will be loaded not in that sequence. But it is not so such big problem. If you need to show the image at once you can use " a layer of loading ", closing all page until she will not be loaded entirely, or to clean(remove) this layer, at any stage of loading of page with the help of a script. But do not overlook to put down a way of his(its) "manual" disconnect, for "impatient" users.

This clause(article) can be finished indefinitely, but, I hope, I could explain importance of psychology in design. The workplace of the psychologist, in advertising agencies, already for a long time exists. And the designer is simply obliged to be the quite good psychologist. If you aspire to professionalism try to read the corresponding literature and to find an opportunity of dialogue with the psychologist. Do not disregard the various statistical data and publications on results of researches. Do not hesitate to ask advice(council) and is more often discuss the jobs with others.

I advise to bring up correct construction of associative lines in a plot. Always draw conclusions and skeptically concern to conclusions of others. And D.Karnegi's books let alone, they need to be studied at school.