Visual Perception
Perception
Perception is the psychological response, organi-
zation, and interpretation of sensory stimuli
(.sight, smell, taste, touch, and hearing). It is cul-
turally based and subjective, which gives rise to
the truism "Beauty is in the eye of the beholder."
The comparison of stimuli with our previous
experiences, which are then interpreted, is known
as precept. Esthetics is derived from the Greek aes-
ilwsis, meaning perception. The science of visual
perception or esthetics is the study of sensory
stimuli and response. Visual perception is a pre-
requisite for esthetics, as is visual examination a
requirement for clinical investigation (Rufenacht, FIGURE 13-2. The individual element is different
1990). Understanding the fundamental objective when made part of the whole,
criteria of esthetics is a basic requirement for
understanding and appreciating beauty. FIGURE 13-1. Objects made visible by contrast.
Composition ent individual parts of the composition to give
the effect of the whole. The whole is greater than
Composition is the study of the relationship
the sum of the individual parts and is now a new
between objects made visible by contrasts in
entity, as a musical note is to a sheet of music or
color, line, or texture (Figure 13-1). Contrast
an individual tooth is to a segment of teeth (Fig-
allows our eyes to "see" or differentiate. As con-
ure 13-2).
trast increases, so does visibility if there is enough
Unity may be subdivided into stagnant and
light to illuminate. In dentistry, we are concerned
dynamic unity (Rufenacht. 1990):
with facial, dentofacial, and dentogingival com-
positions (Lombard, 1973). Stagnant unity (Figure 13-3)
1. Geometric shapes
2. Nonliving
Unity FIGURE 13-3. Stagnant unity is nonliving, inert {no
3. Inert (no motion)
The prime requisite of composition is unity 4. Repetitions motion) and repetitious.
(Lombard, 1973). Unity is the ordering of differ- 5. Examples: crystals, snowflakes, water droplets
218 Fundamentals of Dental Esthetics
Dynamic unity (Figure 13-4) viding good composition. Dominance may be Cohesive forces tend to unify a composition
static (monotonous) or dynamic (diverse). by (Gulamerian, 1963; Lombard, 1973): (Figure
1. Growing
Static dominance is represented by similar 13-9)
2. Living
elements, such as crystals or small teeth, which
3. Active 1. Repetition of shape, color, or line
tend to be weak. Dentofacial dominance can be
4. Diversity 2. A border about an object
enhanced by making the teeth longer, whiter,
5. Examples: plants, animals 3. An object in a pattern
and/or more diverse (Figure 13-7).
"Static designs are based on a regular repeti- 4. Monotony
Dynamic dominance is represented by a
tive pattern and on the unchanging curve of a cir- shape, color, or line that dominates within a Segrative forces allow for diversity of com-
cle, whereas the dynamic designs are like the group of elements. In dentistry, the mouth dom- position by providing for (Figure 13-10)
flowing continuity of the logarithmic spiral with inates the face and the central incisors dominate
its generating nucleus" (Graves, 1951) (Figures 1. Asymmetry
the anterior tooth segment (Figure 13-8).
13-5 and 13-6). 2. Interesting placement of elements
Dentofacial harmony requires that the cohe-
Forces: Cohesive versus Segrative
Dominance sive and segrative forces be in balance (Rufe-
A good composition is composed of varying nacht, 1990) (Figure 13-11).
Dominance is the prime requisite for providing degrees of two opposing forces, referred to as
unity, just as unity is the prime requisite for pro- cohesive and segrative.
FIGURE 13-4. Dynamic unity is active, living, and RGURE 13-5. Static design, the circle is represent- FIGURE 13-6. Dynamic design is represented by
mobile ed by a circie, absolute unity without variety. Hogarth's line of beauty providing absolute beauty
with absolute unity. The line is never the same at any
two points yet never deviates from the core structure.
FIGURE 13-7. Static dominance of small teeth is enhanced by lengthening and whitening of teeth.
FIGURE 13-8. Facial and dental elements showing
their dominant features, the mouth, and central
incisors respectively.
Visual Perception 219
Symmetry
Symmetry refers to the regularity of objects or
teeth as they move away from the center point and
is referred to as horizontal or radiating symmetry:
Horizontal or running symmetry (Figure
13-12)
1. Cohesive
2. Monotonous
3. Similarity of all objects
4. Right and left sides are identical
Radiating or dynamic symmetry (Figure
13-13) ,
1. Segrative
2. Dynamic/interesting
3. Right and left sides are mirror images
Composition requires symmetry for balance,
equilibrium, and visual balance to exist.
FIGURE 13-9. A border about objects like the lips
about the teeth frame the individual elements and
Dentofacial composition requires the intro-
tie them together. duction of radiating symmetry to create a posi-
tive psychological response, and whereas hori-
zontal symmetry is the most important iactor in
facial composition, radiating symmetry takes
precedence in the dentofacia! view.
FIGURE 13-10. A. Straight line incisai edges lack FIGURE 13-12. Horizontal symmetry represented by
interest or unity. 6. and C. show asymmetry, diversity. smalt, similarly shaped teeth.
and variety. Note that too often the straight incisai
line is used for convenience.
RGURE 13-11. The relationship of the facial, dental
facial, and dental elements are both uniform and
diverse providing a pleasing result.
RGURE 13-13. Radiating symmetry showing diversi-
ty and asymmetry of prosthetically restored teeth.
220 Fundamentais of Dental Esthetics
Balance and Equilibrium another disk. This tension is a real part of our Objects in imbalance are (Figure 13-19)
percept (Lombard,1973) and because it has both
Balance is the equalization or exact adjustment of 1. Tense
magnitude and direction is considered to be an
opposing forces with no one force out of propor- 2. Unstable
induced force (Figure 13-15).
tion to another. Balance, when applied to esthet- 3. Accidental
ics, is termed equilibrium, which also encompass- 4. Transitory
es perception for interpreting visual and special Structural Map 5. Unfinished
relationships. An imbalance in the color, size,
and/or shape of teeth produces tension and is the A structurai map is the most stable position of an
result of induced forces. object in the center, where it is being repelled by
its borders (Figure 13-16). Just as the disk is most
stable in the center of the square, so is the dental
Induced Forces midline the most stable point of the dentofaciaJ
and dentogingival complexes (Figure 13-17):
Induced forces are tensions produced by an
Therefore, objects in balance are (Figure
object imbalance, creating a desire on the part of
13-18)
the beholder to alter or move the object so as to
induce equilibrium. The disk in the corner of the 1. Peaceful
square (Figure 13-14) is representative of this 2. Stable
phenomenon. There is tension produced on the 3. Planned
viewer's part that can be relieved only by moving 4. Permanent
the disk to the center or by balancing it with 5. Completed
FIGURE 13-15. A, The central incisor is off center. B.
The arrows indicate the force and magnitude of
induced forces. C, Tooth positioned correctly and ten-
sion Is eliminated.
FIGURE 13-14. Induced forces. A, The disc is positioned off center. Inset, The offset position promotes a FIGURE 13-16. Structural n i j p . Ilie disk is in the
desire to move the objects (arrows indicate force and direction); ß, and C, balance is achieved and reduced most stable balanced point.
with a stable disc placement or balanced pairs.
Visual Perception 221
Proportion
Proportionality should provide for unity, variety,
and interest where the individual elements are
both cohesive and segrative (Figure 13-21). This
satisfactory division of a surface into separate
objects of contrasting size and shape that are stiU
related to each other is termed the repeating ratio.
The Greeks (Pythagoras) developed a repeat-
ing mathematical ratio for beauty of 1.618 to 1,
FIGURE 13-17. biiuciuidl nidp Ihe dental which became known as the golden mean. The
midline as the most stable point. Parthenon was built exclusively using the repeat-
ing ratio and is considered by many to be one of
the most beautiful architectural creations.
Finally, balance must also be considered in The golden proportion appears to provide
terms of the visual weight (color and direction) the satisfactory integration of diversity versus
that exists on either side of a fulcrum. The objects unity and cohesive versus segrative forces. When
closest to the center have less impact than objects the golden proportion cannot be applied, a con-
farther from the fulcrum. RGURE 13-18. Balance vs imbalance. Note the dif-
stant ratio should be sought.
ference between two smiles. A. balance. B, Imbalance.
Lines Cosmetics versus Esthetics
Facial, dentofacial, and dentogingival esthetics are Esthetic Structural Analysis, our perception of Cosmetics is the superfacial covering up or over
determined by harmony, integration, and propor- these undrawn lines determines beauty and of the body, face, or teeth. Dental cosmetics is
tion of various lines. As we shall see in Chapter 14, guides our dental reconstructions (Figure 13-20). confined to those cleansing and whitening agents
Parallel lines are the most harmonious rela- used for the oral cavity and teeth. Esthetics, on
tionship that exists because they exhibit the least the other hand, is the application of varying
amount of contrast or conflict. Conflict increases modalities of treatment to physically alter the
as asymmetry or divergence increases. jaws, teeth, and gingival tissue to achieve a more
Perpendicular lines provide the strongest pleasing appearance, such as in the case of ortho-
perceptual relationship owing to the greatest dontics and orthognathic surgery.
amount of conflict.
B
FIGURE 13-19. Imbaiance of color and space before FIGURE 13-20. Note the contrast of tension when FIGURE 13-21. Repeated ration and golden pro-
(A) and after (B) correction of color and space closure viewing parallel versus perpendicular line. portion.
providing stability and harmony.
