1. Elements and visual analysis strategies
Visual Literacy
Elements and visual analysis strategies

2. 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.

3. Reading Path

4. Reading Path

5. Reading Path

6. 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.

7. 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?

8. Vectors

9. Vectors

10. Vectors More vectors imply more action

11. Vectors More vectors imply more action

12. 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.

13. Layout and size of images

14. 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.

15. Given - New

16. 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.

17. Real - Ideal

18. 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.

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

20. Framing: Long Shot, Social Distance, Public Relations

21. 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).

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

23. 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)

24. Perspective: Objective – Horizontal Oblique Angle

25. 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

26. Colour

27. Colour – symbolic use – grey scale