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Visual Techniques
Terms for analysis
Salience


Salience refers
to the feature in
a composition
that most grabs
your attention.
An image can be made salient
through:








Placement: usually an image becomes
“heavier” if placed towards the to...
What is most salient?





What part of this
image is most
salient?
Why is it most
salient?
Reading paths


A reading path is the path you take
through a visual text. The path moves
from the most salient to the le...
Describing the reading path.


In this
image, what
path/s
does/do
your eyes
follow?
What is the reading path
here?
Vectors






A vector is a line that leads your eye
from one element to another.
A vector may be a visible line or an
...


Explain how vectors
work in the following
images.
The Last Supper
Compositional axis
The vertical
axis:




The horizontal
axis:


The left, is known
or given;

The right is new or
unk...
Does the theory work?
The centre





Images here are the nucleus
information.
The margin images are subservient.
Framing


Elements in a layout can be
disconnected and marked off from each
other or connected. If elements are cut
off f...
Framing.




Framing can be achieved by borders,
discontinuities of colour and shape, or
by white space.
Connectedness c...
Gaze




Demands and offers.
Demand: subject looks out of the image
at the responder.
This establishes a connection betw...
Gaze
Offer: The figure looks
away.
 The viewer is a detached
onlooker.

Subjective and objective
viewpoints


The viewpoints come from
the vertical and horizontal
angles.
Subjective viewpoints encourage the
viewer to adopt a certain stance



A high angle
gives the viewer
a sense of
power
Subjective images continued


A low angle
makes the
viewer feel
powerless
Subjective images.


A straight on
eye level view
creates no
power
difference.
Objective images


The viewer is not drawn into
involvement with the image. Meaning
comes from the symbolic connection
ma...
Social Distance.








A close up is
intimate
A medium shot is
close
A whole figure
framed is close.
A long shot is ...
Lighting and Colour







Lighting creates mood
-Shadows may suggest concealment or
fear and despair
-Light, hope an...
How is mood created here?
What effect does colour have
here?
What is the effect of the use of
light?
How is light used here?
Modality/credibility




Lowest modality
graphics are the
least real.
Highest modality is
most real.
Influences on modality






Idealisation: the
image is better
than real.
Decontextualisatio
n:
Components are
removed ...
Influences on modality cont.


Modality can be
affected by
tricks with
perspective.
The End
Visual literacy
Visual literacy
Visual literacy
Visual literacy
Visual literacy
Visual literacy
Visual literacy
Visual literacy
Visual literacy
Visual literacy
Visual literacy
Visual literacy
Visual literacy
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Visual literacy

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Visual literacy

  1. 1. Visual Techniques Terms for analysis
  2. 2. Salience  Salience refers to the feature in a composition that most grabs your attention.
  3. 3. An image can be made salient through:       Placement: usually an image becomes “heavier” if placed towards the top or left. Colour Size Focus Distance A combination of these things.
  4. 4. What is most salient?   What part of this image is most salient? Why is it most salient?
  5. 5. Reading paths  A reading path is the path you take through a visual text. The path moves from the most salient to the least salient elements.
  6. 6. Describing the reading path.  In this image, what path/s does/do your eyes follow?
  7. 7. What is the reading path here?
  8. 8. Vectors    A vector is a line that leads your eye from one element to another. A vector may be a visible line or an invisible one. It can be created by such things as a gaze, pointing fingers or extended arms.
  9. 9.  Explain how vectors work in the following images.
  10. 10. The Last Supper
  11. 11. Compositional axis The vertical axis:   The horizontal axis:  The left, is known or given;  The right is new or unknown. The upper section is ideal; The lower elements are real.
  12. 12. Does the theory work?
  13. 13. The centre   Images here are the nucleus information. The margin images are subservient.
  14. 14. Framing  Elements in a layout can be disconnected and marked off from each other or connected. If elements are cut off from one another they are strongly framed.
  15. 15. Framing.   Framing can be achieved by borders, discontinuities of colour and shape, or by white space. Connectedness can be achieved by vectors and devices such as overlapping or superimposition of images.
  16. 16. Gaze   Demands and offers. Demand: subject looks out of the image at the responder. This establishes a connection between subject and viewer.
  17. 17. Gaze Offer: The figure looks away.  The viewer is a detached onlooker. 
  18. 18. Subjective and objective viewpoints  The viewpoints come from the vertical and horizontal angles.
  19. 19. Subjective viewpoints encourage the viewer to adopt a certain stance  A high angle gives the viewer a sense of power
  20. 20. Subjective images continued  A low angle makes the viewer feel powerless
  21. 21. Subjective images.  A straight on eye level view creates no power difference.
  22. 22. Objective images  The viewer is not drawn into involvement with the image. Meaning comes from the symbolic connection made by the reader.
  23. 23. Social Distance.     A close up is intimate A medium shot is close A whole figure framed is close. A long shot is far social distance
  24. 24. Lighting and Colour      Lighting creates mood -Shadows may suggest concealment or fear and despair -Light, hope and inspiration. -Soft light, romance. Colour can be symbolic
  25. 25. How is mood created here?
  26. 26. What effect does colour have here?
  27. 27. What is the effect of the use of light?
  28. 28. How is light used here?
  29. 29. Modality/credibility   Lowest modality graphics are the least real. Highest modality is most real.
  30. 30. Influences on modality    Idealisation: the image is better than real. Decontextualisatio n: Components are removed from the expected context and used elsewhere.
  31. 31. Influences on modality cont.  Modality can be affected by tricks with perspective.
  32. 32. The End

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