This is an example of displaced code used in advertising. Because they might get in trouble if they were explicitly racy, they are using the association of someone's orgasm face to draw viewers in. It means something else when it's used in a different context but can also work here which makes it displaced code.
An iconic sign is an image that literally represents something. Traditionally, men don't wear dresses so if you see an image on a door that has a woman in a dress, if you were a man, you wouldn't go into that room. It means it's the women's room.
This is an example of continuation, a Gestalt principle. When you look at the image, even though there are blank spots and the lines don't completely intersect, you still form the image of a square in your mind. There's enough of a boundary and shape to make your mind see something that isn't exactly drawn.
This is a good example of figure-ground relationship because the artist, Escher, draws it in a way where no image really has precedence over the other. You see the dark images and the white images all equally. You could assign figure to any one of the images or you could call them "ground". There's no real distinction because they all have equal rights to being both figure and ground.
This is an example of one-point perspective. I took this at a temple. The lanterns start large and draw your eye into the "back" of the photograph as they get farther away and smaller. They lead your eye to the staircase by the man in the white shirt.
This picture conveys apparent movement because the first thing we think of when we think of movement is walking or running. The girl in the middle is in focus while the people on either side of her are blurred. I feel like it creates more movement by the focus and by the blurriness. You can focus on that next step that she's about to take and also see the actual movement being made by those next to her. It also kind of sucks you in and makes you feel like you are about to walk into her with your head down.
This was one of the pictures from a wedding I shot. It's a good example of asymmetrical balance. It's creative and leads your eyes to the left and slightly downward. It doesn't totally throw the picture off balance because it uses the rule of thirds to some extent. It also helps to have the arm come from the top right and sort of creates a balance without having a balance. By ignoring balance, I think this composition creates a wistful, romantic sort of mood.
