Elements and visual analysis strategies Visual Literacy Elements and visual analysis strategies

Reading Path This is the path that the eye travels when it encounters a text or visual image. Usually the object that begins the reading path is the SALIENT IMAGE – the largest, most important or centred part of the image.

Reading Path

Reading Path

Reading Path

Vectors Vectors are visible or invisible lines which are a “force with a direction or magnitude” They focus attention on objects of central importance They can also lead the viewer from one object to another. Vectors can be created by such things as a gaze, pointing fingers or extended arms, an object held in a set direction or protrusions of various sorts.

Vectors When analysing vectors, identify where they occur and analyse the effect of each. Is the effect strong or merely a suggestion? (Does the vector draw strong attention to an aspect of meaning within an image or is it more of a subtle suggestion)? What effect does each vector have on the meaning that is represented? How do vectors highlight or amplify the meaning within images? How do vectors influence the reading path?

Vectors

Vectors

Vectors More vectors imply more action

Vectors More vectors imply more action

Layout and size of images Where and how are images or elements of an image placed within the text or visual image can have a significant impact on the meaning that is communicated. Important areas of the text are often in the middle or towards the top of the page. Less important areas are often towards the edge of the page or lower down the page. The centre vs margin composition concept gives importance to the central images with lesser value placed on the outer or ‘margin’ images. Layout will influence the reading path and thus will affect how meaning is imparted to the viewer. The size of the image has a significant effect on its salience and on the reading path.

Layout and size of images

Layout: Given - New The Given visual information is on the left side of the page, both top and bottom halves of the page. The Given information is the more familiar or accepted. The New visual information is on the right side of the page, both top and bottom of the page. The New information is the point of interest or the unknown. The viewer will use the Given to orient themselves with the New. The Given acts as a reference point for the New. The Given gives the New a context.

Given - New

Layout: Real - Ideal The Real is the bottom half of the page. It represents the actual and the concrete. It provides an anchor for the concepts of the Ideal. The Ideal is the top half of the page. It represents the imagination, creativity, ideas, aspirations, fantasy. It builds on the anchor of the Real.

Real - Ideal

Framing Framing affects the degree of familiarity with which the reader responds to figures within the visual image. Intimate distance – face or head or part of body (Close-up: personal relations) Far personal distance – waist-up (Medium shot: social relations) Close social distance – whole figure framed (Long shot: public relations) Far social distance – whole figures of group of people (Long shot: public relations)(Parkes) Identifying the framing of the visual image assists in identifying the perspective of the composer, the meaning that the composer is intending to impart and how the viewer is being positioned.

Framing: Close-up, Personal Relations; Medium Shot, Social Relations

Framing: Long Shot, Social Distance, Public Relations

Perspective Perspective positions the viewer in a subjective or objective point of view according to the vertical or horizontal angles used. Subjective point of view: All aspects of the image are arranged for the viewer The viewer is positioned in a particular stance The vertical angle represents the power relationship between the viewer and the image: Low angle – viewer is gazing up at image: image is powerful Eye-level – viewer and image are on same gaze level: viewer and image are equal High angle – viewer is gazing down on image: viewer is powerful These images tend to be naturalistic rather than symbolic. If the angle is horizontal and with a front-on view, the viewer is invited to become involved with the image. (Information in whole slide taken from Parkes).

Perspective: Subjective – Low Angle, Eye-Level, High Angle

Perspective Objective point of view: The viewer is positioned to take a detached point of view A horizontal oblique angle is used (angle is not straight-on) The figures in the image are removed from the world of the viewer There is an emotional distance between the viewer and the figures in the image The viewer is positioned to observe but not participate in the events in the image. (Information in slide adapted from Parkes)

Perspective: Objective – Horizontal Oblique Angle

Colour Colour is an important semiotic resource in visual images. What emotions are the following colours associated with? Red Black Blue Green Brown Purple Yellow

Colour

Colour – symbolic use – grey scale