Narrative Image   The how & why of   visual storytelling      By Daniela Molnar
Stories are integral to human culture.Visual stories are a powerfully directmethod of conveying information,ideas, and cul...
Part 1: How do imagescommunicate?                Part 2: Types of                narrative images
Part 1: How doimages communicate?
Images tell stories using semiotics, asort of visual grammar.> Semiotics <Visual cues, or signs, are combinedinto patterns...
Philosopher/scientist Charles Sanders Peirce (1839 - 1914) categorized signs as  iconic                   symbolic indexical
An iconic sign looks like what it represents -- aportrait or a scientific illustration, for example.
A symbolic sign does not look like what it represents andits meaning must be learnt. Its meaning is fundamentallyarbitrary...
An indexical sign is a clue that links meanings. Itsassociation with this meaning is not arbitrary but isphysically or cau...
“heart”iconic   symbolic   indexical
All of these types of signs are used in combination invisual communication. This is how images tell stories.iconic, symbol...
Walton Ford, Falling Bough, 2002Iconic: This is an identifiable scene; the log looks like a log, the pigeons like pigeons,...
Images have the power to impact how  cultural messages are transmitted  and received. This gives them the  power to alter ...
Republicans released the above graphic explaining how the Democratichealthcare plan will—or wont—work. The process looks h...
This chart, which explains the same process, was released by theDemocratic party. It’s soothing tones and rounded edges su...
Part 2: Types ofnarrative images
> Flavored <A subjective, editorialized depiction ofa thing, person or place. The story is inthe implied viewpoint.Another...
Flavor can be thought of a meta-narrative that is present in allimages in varying degrees.              F lavored         ...
Some of the most obvious examples of flavored images can be found in advertising.The literal, or denotative meaning of the...
Even scientific images can be flavored.                           The author of the                           Pernkopf Ana...
> Linear < Depicts the passage of timeand/or space in a single image> Aggregate < Depicts (non-temporal)relationships betw...
> Linear < Depicts the passage of       time and/or space in a single imagePiero della Francesca, Battle between Heraclius...
Piero della Francesca, The Discovery and Proving of the True Cross, c. 1455
Chauvet Cave
Maria Sibylla Merian
Hadley Hooper, illustration about Parkinsons disease
> Aggregate < Depicts relationshipsbetween things in a single image composedof multiple parts              Wendy Zomlefer
Lilian Snellling, Aerides houlletianum
From Colors 13, the wordless issue. Art directed by Tibor Kalman
Galileo’s engravings of the moon in Sidereus Nuncius, 1610
Robert Weaver, April 1959, Esquire
> Paneled < Depicts thepassage of time and/orspace in multiplesequenced imagesBayeux tapestry, c. 1077.224 ft long embroid...
Luoshenfu, Gu Kai Zhi, 344-406 CE
STMATTHEWI S LAN D
How paneled images tell stories          > Closure <     > The frame as time <        > Transitions <      > Interdependen...
> Closure <Closure is the psychological leap that is essential to make paneledimages work. Closure occurs in the gutter, i...
> The frame as time <The frame is a unit of time – it can be a second, a minute, an hour, or an eternity.The dimensions (a...
> Transitions <                    There are six major types of transitions between frames, each                      of w...
scene-to-scenespans significant distancesof time or spaceaspect-to-aspecttransitions between aspectsof a place, idea, or m...
> Interdependent words & images <Most, though notall, comics rely ona combination ofwords and imagesto convey anidea. If t...
Suspended In Language: Niels Bohr’s Life, Discoveries, And TheCentury He Shaped By Jim Ottaviani, Illustrated by Leland Pu...
Other titles by Jim Ottaviani Published by G.T. Labs
Clan Apis By Jay Hosler
how
why
Visual stories are auniquely powerfulway to communicate.             They have the power             to change the way we ...
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
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Narrative Image: The How and Why of Visual Storytelling

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Explores the basics of how images communicate. Looks at various types of visual narratives. Presented to the Guild of Natural Science Illustrators at the 2011 national conference in Olympia, WA on July 12, 2011.

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Narrative Image: The How and Why of Visual Storytelling

  1. 1. Narrative Image The how & why of visual storytelling By Daniela Molnar
  2. 2. Stories are integral to human culture.Visual stories are a powerfully directmethod of conveying information,ideas, and cultural wisdom.
  3. 3. Part 1: How do imagescommunicate? Part 2: Types of narrative images
  4. 4. Part 1: How doimages communicate?
  5. 5. Images tell stories using semiotics, asort of visual grammar.> Semiotics <Visual cues, or signs, are combinedinto patterns that transmit messagesto the viewer.
  6. 6. Philosopher/scientist Charles Sanders Peirce (1839 - 1914) categorized signs as iconic symbolic indexical
  7. 7. An iconic sign looks like what it represents -- aportrait or a scientific illustration, for example.
  8. 8. A symbolic sign does not look like what it represents andits meaning must be learnt. Its meaning is fundamentallyarbitrary because it is based on cultural associations. Forexample, a stop sign, a flag, a traffic light, a company’s logo,or the Statue of Liberty.
  9. 9. An indexical sign is a clue that links meanings. Itsassociation with this meaning is not arbitrary but isphysically or causally connected. Smoke, for example, isan indexical sign of fire; a pointing finger is an indexicalsign of whatever it is pointing at; 90 degrees on athermometer is an indexical sign that it is hot out.
  10. 10. “heart”iconic symbolic indexical
  11. 11. All of these types of signs are used in combination invisual communication. This is how images tell stories.iconic, symbolic, & indexical
  12. 12. Walton Ford, Falling Bough, 2002Iconic: This is an identifiable scene; the log looks like a log, the pigeons like pigeons, the sky like asky, etc. We can look into this landscape as we look at the world.Symbolic: In cultural terms, the passenger pigeons represent societal shortsightedness, bloodlust,and violence against nature. They also represent species extinction, and, more broadly,environmental destruction.Indexical: The falling log suggests imminent danger or destruction. The sunset colors suggest a timeof transition. The strong diagonal composition creates a sense of unease in the viewer.
  13. 13. Images have the power to impact how cultural messages are transmitted and received. This gives them the power to alter the culture itself. In March 2010, the Obama administration appointed Edward Tufte to a paneladvising the Recovery Accountability and Transparency Board (RAT Board), which monitors the way the $787 billion in the stimulus package is being spent.
  14. 14. Republicans released the above graphic explaining how the Democratichealthcare plan will—or wont—work. The process looks horrifyinglycomplex; how will we get our insurance?!
  15. 15. This chart, which explains the same process, was released by theDemocratic party. It’s soothing tones and rounded edges suggest thatthe new system will be as delightful as ice cream on a sunny day.
  16. 16. Part 2: Types ofnarrative images
  17. 17. > Flavored <A subjective, editorialized depiction ofa thing, person or place. The story is inthe implied viewpoint.Another term for the “flavor” of animage is its connotative meaning.Many images have a denotativemeaning that differs from theirconnotative meaning. The denotativemeaning is the literal meaning of theimage, while the connotative meaningis the implied meaning, or the “flavor.”
  18. 18. Flavor can be thought of a meta-narrative that is present in allimages in varying degrees. F lavored Linear Paneled Aggregate
  19. 19. Some of the most obvious examples of flavored images can be found in advertising.The literal, or denotative meaning of the original ad: This guy is a pretty smoothcharacter and he smokes Camel cigarettes.The implied, connotative, flavored meaning of the original ad: Our cigarettes will makeyou rich, sexy and powerful.The literal, or denotative meaning of the Adbusters ad: Joe Camel is now Joe Chemo andhe is sitting sadly in a hospital bed alone.The implied, connotative, flavored meaning of the Adbusters ad: Cigarettes will notmake you rich, sexy or powerful, but they will kill you.
  20. 20. Even scientific images can be flavored. The author of the Pernkopf Anatomy atlas, Eduard Pernkopf, was a leading Nazi who purged the University of Vienna medical faculty of Jews. It is thought that the cadavers portrayed in the Atlas’ paintings are likely victims of Nazi concentration camps. The denotative, literal meaning of this illustration: this is how the muscles of the face, throat, and shoulder look. The connotative, flavored meaning: some human life is disposable.
  21. 21. > Linear < Depicts the passage of timeand/or space in a single image> Aggregate < Depicts (non-temporal)relationships between things in a singleimage composed of multiple parts> Paneled < Depicts the passage oftime and/or space in multiplesequenced images
  22. 22. > Linear < Depicts the passage of time and/or space in a single imagePiero della Francesca, Battle between Heraclius and Chosroes, c. 1460
  23. 23. Piero della Francesca, The Discovery and Proving of the True Cross, c. 1455
  24. 24. Chauvet Cave
  25. 25. Maria Sibylla Merian
  26. 26. Hadley Hooper, illustration about Parkinsons disease
  27. 27. > Aggregate < Depicts relationshipsbetween things in a single image composedof multiple parts Wendy Zomlefer
  28. 28. Lilian Snellling, Aerides houlletianum
  29. 29. From Colors 13, the wordless issue. Art directed by Tibor Kalman
  30. 30. Galileo’s engravings of the moon in Sidereus Nuncius, 1610
  31. 31. Robert Weaver, April 1959, Esquire
  32. 32. > Paneled < Depicts thepassage of time and/orspace in multiplesequenced imagesBayeux tapestry, c. 1077.224 ft long embroidered cloth which depicts the events leading up to the Norman conquest of England as well as theevents of the invasion itself.
  33. 33. Luoshenfu, Gu Kai Zhi, 344-406 CE
  34. 34. STMATTHEWI S LAN D
  35. 35. How paneled images tell stories > Closure < > The frame as time < > Transitions < > Interdependent words & images <
  36. 36. > Closure <Closure is the psychological leap that is essential to make paneledimages work. Closure occurs in the gutter, in the space between panels.
  37. 37. > The frame as time <The frame is a unit of time – it can be a second, a minute, an hour, or an eternity.The dimensions (and shape) of the panel are as important as the space betweenthe panels, as well as the placement of the panel on the page.
  38. 38. > Transitions < There are six major types of transitions between frames, each of which has a different effect on the pacing of the story.moment-to-moment subject-to-subject aspect-to-aspectrequires very little closure shows different people or things transitions between aspects of a in a scene or idea place, idea, or moodaction-to-action scene-to-scene non-sequitursingle subject in a process spans significant distances of no logical relationship - lots of time or space closure required
  39. 39. scene-to-scenespans significant distancesof time or spaceaspect-to-aspecttransitions between aspectsof a place, idea, or mood
  40. 40. > Interdependent words & images <Most, though notall, comics rely ona combination ofwords and imagesto convey anidea. If the storyis driven mainlyby the imagery,then the words The words are telling most of the story herecan wander inmany directions.If the story isdriven mainly bythe words, thenthe images canwander, becomingmore abstract and The image is telling most of the story hereutilizing moreclosure. No words
  41. 41. Suspended In Language: Niels Bohr’s Life, Discoveries, And TheCentury He Shaped By Jim Ottaviani, Illustrated by Leland Purvis,Roger Langridge, Jay Hosler, Steve Leialoha, Linda Medley, Jeff Parker
  42. 42. Other titles by Jim Ottaviani Published by G.T. Labs
  43. 43. Clan Apis By Jay Hosler
  44. 44. how
  45. 45. why
  46. 46. Visual stories are auniquely powerfulway to communicate. They have the power to change the way we understand the world.
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