“Images are no longer just representations or interpreters of human actions. They have become central to every action that connects humans to each other… as much reference points for information and knowledge as visualizations of human creativity” -Ron Burnett
- Abstract & Representation
- An image will always be a mixture of abstract and representation. Using intrinsic messaging of abstract form can influence a photograph composition’s messaging potential.
- Image Modes
- Mode- the form of an image’s representation
- A designer might choose to represent an idea by using photographs, illustrations, or a hybrid.
- Semiology and Stylization
- The designers goal is to invent a specific graphic language- an internal logic of positive and negative relationships, an emphasis on curved or angular forms, and an integration of line and mass.
- The choice of illustration over photography opens up tremendous possibility for transmitting information. An illustration can be concrete, objective, or realistic in how it presents it subject.
- The Medium is a Message
- The language of the tool has a powerful effect on an illustration’s communicative value, not just on its visual qualities relative to other elements in a design solution.
- Graphic Translation
- Depicts subjects in a literal way.
- Strategies for Composition
- Designers often forget they are not bound by the realities of arrangement imposed by the scene they are rendering.
- Mixing Image Style
- Creating contrast among visual elements is key to surprising, refreshing, and enlivening layouts.
- Narrative Interplay
- Putting photographs together increases their semantic power and creates narrative or storytelling.
- A designer may present an image that means something else entirely, refers to a much broader concept, or combines concepts to evoke a third concept that is not explicit in either of the combinations.
1. How abstraction can change a simple object or shape in an image into something beautiful.
2. How the image mode is influenced by the medium of an image as well as the images simplicity.
3. Seismology: the study of relationships between signs and what they represent.
4. How the choice of using an illustration over photography removes the limitation of using real-world objects.
5. The distinct differences between drawing and painting. Also the characteristics that each bring to the designer.
6. The importance of realism in an image and how it can improve an image’s overall atmosphere.
7. How the medium of an illustration or photo communicates a message to the viewer.
8. How the type of image can change the perceptual filter the viewer associated with the image.
9. Mixing image styles can change the size, shape, color, and spatial arrangements of objects in an image.
10. The artistic power that semantic content plays when making an image.
“In the hands of a designer who knows how to command composition on a purely visual level, and who can conceptually select and manipulate content, an image is by far the most profound communication tool available.”
- Image “mode” is determined by the designer based on emotional qualities of the content, the number of messages to be differentiated, expectations of the audience, and production issues.
- How “mediated” an image is can be evaluated based on how realistic its physical interpretation is, or how complex vs. literal the messaging is.
- Semiology: The anthropological field of studying what signs symbolize.
- The medium carries meaning in terms of feeling (softness, hardness, fluidity, and stiffness) and concept.
- The directness of photography allows the viewer to digest the information more quickly, accepting it as “real” and processing mediated elements on a secondary level.
- Any time a letter or word takes on pictorial qualities, it becomes an image in itself and creates a “supersign” with new levels of complexity.
- Image styles need contrast as well as demonstrate some similarity in order to achieve a unified message.
- Semantic Content: Conceptual, verbal, and emotional messages that are not literally represented in the subject.
- The moment two images are juxtaposed, the viewer will try to establish a meaningful connection between the two. Every photograph influences the others around it.
- Some ways to establish visual metaphor are by (1) using an object to define the form of something else, (2) depicting one thing acting like another, or (3) combining seemingly unrelated images to create a new meaning.
1. Abstraction and Representation
- An image might mostly be representational or mostly abstract, but it always will be a mixture of the two. Abstract images communicate ideas that are grounded in the human experience.
2. Image Modes and Mediation
- A designer might choose to represent an idea by using photographs, illustrations, or a hybrid manipulated photographs or drawn images in combination.
3. Semiology and Stylization
- A designer might often need to represent ideas in a stylized way, selecting the most important elements form a subject and arranging them in as concise and simplified a message as possible.
- The choice of illustration over photography opens up tremendous possibility for transmitting information.
5. Drawing and Painting
- The directness of hand-generated images is universally appealing, the designer taps into a viewer’s own sense of creativity and connects on an extremely personal level.
6. The Medium Is a Message
- Every drawing and painting tool makes characteristic marks and affords a designer a specific kind of visual language. The language of the tool has a powerful effect on an illustration’s communicative value, not just on its visual qualities relative to other elements in a design solution.
7. Graphic Translation
- Graphic translation combines some attributes of both icon and symbol. It depicts subjects in a literal way, like an icon, but also in a self-consciously abstract way that takes on symbolic qualities.
8. Collage: Old and New
- Assembling graphic elements in a free pictorial composition, called “collage”, is a relatively recent development in illustration. It derives from the evolution of representation in fine art form depicting a strictly singular view-point through the construction of multiple viewpoints.
- Realism and directness allow a viewer to enter the image and process it very quickly, rather than get distracted by abstract pictorial issues such as texture, medium, and composition.
10. Narrative Interplay
- Putting photographs together increases their semantic power and creates narrative, or storytelling; the instant two images can be compared, whether juxtaposed or arranged in sequence, a viewer will try to establish meaningful connections between them.
My journal entry can be found in the link below. Thanks.
Here is the link to my image files: