1. Reading Visual Images

2. Representation
Imagine a world without visual images – no road signs, newspapers without pictures, no TV or movies.
We live in a sensory world, a world where the visual image has become a powerful mode of communication.
It is crucial that we are able to read visual images, to recognise what images represent.

3. Size and Position
The size of an object is often an indicator of its importance to the meaning conveyed by the image.
The position of an object gives direction as to what the composer wants us to focus on. Usually the most important object is placed near the centre of an image. However, offsetting an image can be used to create a particular atmosphere.
The salient feature is often determined by the size or position.

4. Gaze
Demand – direct eye contact with the viewer, therefore demanding a response.
Offer – the picture offers some information that must be interpreted by the viewer.

5. Gaze
Demand

8. Symbols
Objects (champagne, crown)
Colour
Body Language
Clothing

9. Colour
Colour is an extremely important feature of visual texts. It creates a particular attitude or emotion, functioning as a signifier for viewers responses.
Red
Turquoise blue
Silver/metallic colours

10. The symbolism we attach to colours is a significant visual code.
Colours, however, have cultural significance which may be different across cultures and situations.

11. Consider the cultural meanings of the following colours:
Blue
Yellow
Green
Grey
Purple
Black
White
Black and White
Brown
Orange

14. Costume

15. Outside the Text
A composer can use a variety of techniques to create an image that conveys a particular meaning by positioning the viewer to respond a certain way.

16. Composition
Portrait – Foreground is more important, elements are usually balanced with main subject in the centre of the frame.
Landscape – Background is the featured element. Usually people are positioned off centre.
Rule of Thirds

18. Framing – Camera Angles and Shots
Eye level
An eye-level shot positions the viewer to feel equal to the subject.

19. Low Angle
A low-angle shot positions the viewer to feel the importance of the subject. It denotes power.

20. High Angle
A high-angle shot places the responder in the position of power.

21. Frontal Angle
The viewer is more likely to associate with the character, making them feel more involved.

22. Oblique Angle
Tends to give a feeling of detachment, that the person depicted is of less importance.

23. Shot Type
Extreme Long Shot

24. Long Shot

25. Medium Shot

26. Close Up

27. Extreme Close-up

28. Lighting Lighting techniques help create a particular atmosphere.
The placement of lights can foreground certain parts of an image.
Key light
Fill light
Back Light
Reflector

29. Darkness in the foreground creates an atmosphere of fear.
The shot is lit from behind, giving a sense that the friends
are leaving the known and moving into the unknown.

30. Soft lighting creates focus on the animals, particularly Babe.

31. Special Effects

32. Reading Path
This refers to the way your eyes travel around the text. When we read printed text in English our eyes travel from left to right and from top to bottom (a Z reading path).
Vectors are often used to direct the viewer’s reading of an image

33. Given and New
Given on the left
New on the right

36. Ideal and Real Ideal in the upper quadrant
Real (how to acquire it) in the lower quadrant

39. Signifiers Signifiers - These are objects in a text
Signified – the meaning effected by the signifier
Complete the activity for the Ovaltine advertisement in ‘What Does it Mean?’

40. Reading Visual Images

62. Group Work Find examples of ads that: - Use a demand gaze
- have distance and angle as important elements in conveying meaning
- Use the ‘given’ and ‘new’ principle
- Use the ideal/real pattern
- Use colour in a symbolic manner

63. Homework Task

64. Class Task Choose one advertisement and complete the scaffold.
Compose an extended response in which you explain how visual codes have been used to create meaning in the text.