I am back analyzing ( Reading Images The Grammar of Visual Design). Chapter four deals with the relationship between image producers and consumers. Complicated connection in an age where commercial images -- be it images or illustration -- can be produced by a large team of creative artists, editors, or directors, with the assumption that the receiver will get the message. There is the concept of target audience. What if the audience have different levels of education or cultural heritage? Would they get the message? An Uncle Sam image may not appeal to Mexican viewers. The chapter does not address Photoshop as part of production of image making and how that "Photoshopping" is creating another imaginary distorted image reality that confuses the consumers.
The complex relationship between who the image producer represents makes it even more essential for the producer to "represent than enact" (page 116) so the image becomes a detached double from the actual real author.
This chapter digs deep into gazing at the viewer which came from European early Renaissance painting and the new understanding of perspective. This awareness, some argue, changed our sense of ourselves; we see and can be seen. In so many commercials the model is talking to "you" she/he is staring in your eyes and asking you as an intimate friend to buy this product or vote for this politician.
I noticed also that in many countries where literacy is low, candidates rely on images of themselves looking at the possible voters. Ballots include an icon for each candidate so that voters can identify each candidate. See this link:http://fourcontinents.
Perspective draws us into the image and makes us part of the three dimensional experience. Objective and subjective reality wrestle in this arena. As an architect when I do perspective drawings I am showing a building the way the viewer may experience it from the street. If I give this drawing to builder he/she won't be able to build from it because there is distortion, and people in the construction industry require geometric flat drawings, which are more objective and mathematical.
In the end neither the photo or graphic illustration of reality are perfect representations. We make a stories in our heads to we can relate to the world.
Color theory and the psychological meaning of it is used very well by advertising. for example it is known that red and white makes people hungry ( notice how it is used in all fast food advertising and decor)
Kress, Gunther & van Leeuwen, Theo (2006). Reading Images: The Grammar of Visual Design. New York: Routledge.
Red and white makes us hungry. I have never actually thought about that. My wife studies colors and is very particular about the colors of the children's rooms and play areas.
ReplyDeleteShe turned my on to a few neat ideas like this web site: http://childdiscoverycenter.org/2012/12/our-study-of-emotions-and-colors/
I rarely thought about how certain colors will just elicit an emotional response from people. I was aware of certain things that professionals do, like the red, narrow tie that is to show power and confidence in meetings or interviews.
Over the years I have learned to watch for certain characteristics in humans when in meetings and interviews. Many of which are based upon well known experts on body language (folding arms, wringing hands, heavy sigh, abruptly sitting back, one word answers - The Definitive Book of Body Language) my most favorite of which is micro-expressions which the TV show Lie to Me was based on:
http://www.paulekman.com/micro-expressions/
Once again, Kader, thanks!