Week 5 Image Critique

Student Name: Chin-Han (Kelly) Chiu n8862419

Date of Post: 29th of August 2014

Topic and Relevant Lecture Week: 5 – Selfie Critique (Compositional Interpretation)

Selfie Image Analysis

Contextual information:

Artist – Chin-Han (Kelly) Chiu

Title – New hair style selfie

Year of creation – 2011

Dimensions – 1488px × 1984px

Collection/source – Digital Camera

Technique, material – Photography

Genre – Self Portrait

Style – Casual

Image URL / origin – Digital Camera


Content: A self-portrait of myself taken after a haircut. I was seated close to my desk and was slightly slanted to fit most of my head and my right arm. The doorframe, floor mat, carpet, tile and my pink slippers were also captured.

Colour analysis: This image consists of mostly yellow and dark brown. The yellowness of the image creates a pastel like filter across the whole image and makes it look very warm. The brown hair colour surrounding the face creates a border like outline that helps distinguish face. The slight pinkness on the cheeks as well as the lip highlights the female facial features. The blurriness of the background makes me look feminine and submissive.

Spatial organization: The camera was tilted, held above and slanted towards me at around 45-degree angle. This creates a V shape from the cheeks to the chin and bringing our eyes down to the hair. The strands of hair on the fridge also direct our eyes down towards the left eye, nose and then the entire face. The desk on the left as well as the doorframe clearly dissects the image, leaving the character at the centre of attention.

Light– The light appears to be shining from above me. My head is lowered; therefore light is not directed straight on my face and instead is reflected on my arm. The hair is also capturing some of the light, causing it to shine and making the strands of hair on the fringe more noticeable.

Expressive content – This self-portrait expresses a calming and soft feeling.

Selfie Image Analysis

Contextual information:

Artist – Woody Photographer

Title –Unknown

Year of creation – March, 2014

Dimensions – Unknown

Collection/source – Instagram

Technique, material – Photography and Computer Graphics

Genre – Self Portrait

Style – Casual

Image URL / originhttp://instagram.com/woodypictures


Content: Woody is holding a phone close to his face and is smiling and looking at the device. This same expression and posture is also displayed on the screen of the phone. Woody’s fingers are touching the buttons on the screen and is taking a self-portrait of himself.

Colour analysis: The image is made up of warmer colours like yellow, cream, brown and white. Features like the hair, brows, eye and lips are highlighted with a low value dark brown to indicate the features of Woody’s face. There is a clear cut between the border of the phone as well as the blue in the screen. The blue borders in the screen makes the image in the phone very obvious.

Spatial organization: In terms of the selfie, the camera is positioned in front of character. Woody is holding his phone at his eye level and his face is right in the centre of the frame.

On the other hand, in terms of the whole image, the camera is positioned on the left of Woody. The viewer follows the direction of the character’s eyes and looks straight to the phone that contains the selfie of Woody. Therefore, the phone is the focus and place of interest.

Light: The light appears to be behind and above Woody. This is a type of backlight and spot light purposely set up for photo shoots.   Woody is in the centre of a blurred spotlight with edges that clearly frames and outlines the centre of attention.

Expressive content – The self-portrait expresses an energetic and delighted mood.

Further Critique:

These two selfies share a very similar approach in terms of colour. Both of the images use very warm colours to express the personality of the character. Also, they both contain lighting that helps highlight certain features of their face but does not interfere with the surrounding. This is important in designs that contain photographs of people. The photos could be edited so that a particular person in the image becomes more focused while the surrounding could be slightly burred out.

The camera angles on these two images are very different. The first example is a typical female selfie where the camera is held high above the head and slanted down so that the eyes are bigger and the face is smaller. On the other hand, the Woody selfie is taken with the camera close and in front of the character, capturing the whole face and therefore is slightly more humorous.


Moving Image Analysis x 2

Student Name: Kaela Wallace

Date of Post: 28 August, 2014

Topic and relevant lecture week: Week 3 Compositional Interpretation 



Artist: J.K. Rowling 

Title: Harry Potter and the Deathly Hallows Part 1

Year of Creation: 2010

Dimensions: Uknown

Collection/Source: DVD

Technique/Material: Cinematic Film

Genre: Landscape

Style: Fantasy

Image url/Origin: DVD

In this series of moving images, Harry Potter is getting aggressive with his mentor. He is in a potions room.

In terms of colour analysis, the colour scheme and saturation of the scene has dark colours like blacks, greens and blues, colours which sit at the end of the spectrum. There is also a low saturation of the entire scene which helps heighten the darkness in the scene. When discussing the spatial organisation or mis-en-scene of this moving image, it can be decided that the screen ratio is roughly 2.5:1 in landscape view. The screen framing of the scene is focused on main character with a traditional closed frame of him creating more drama in his movements in the scene. The main character at the start is viewed as sitting down and then progresses to a presumed full stance as he becomes closer and more focused in the end scene. This is obviously intentional with them wanting to emphasis the character more as his aggression and part in the scene grows. It is shot close up in the beginning with the main character sitting on the chair below the eye line of the viewer and then progresses to standing up in direct (or above) the eye line of the audience suggesting a change in power and superiority. In the beginning, the character is also in focus with the background both in focus and then in the end is shown fully focused closer to the screen with the background out of focus. Within this scene, the audience pretty much follows the character with the camera moving with him as he stands up and advances towards his mentor (the camera). Because it is a dark scene in a dark place (intentionally), it relies on very little light to create a certain atmosphere. They’ve used a shade of light that comes through the window to represent the moons luminance lighting up the room. There is also some dim candle lighting in the scene. The expressive content of this scene is intended to provoke a dark atmosphere, and an emotion of fear and anticipation in the audience. 



Artist: Lernard B. Stern

Title: Get Smart

Year of Creation: 2008

Dimensions: Uknown

Collection/Source: DVD

Technique/Material: Cinematic Film

Genre: Landscape

Style: Spi-fy

Image url/Origin: DVD

In this series of moving images, Max (Maxwell) Smart is briefing the american intelligence agency on a case. They are in a meeting room with Max Smart doing the briefing and the other agents listening. 

The colour used in this scene is a mixture of tones which would represent an office setting. Serious dark colours with low saturation to show the seriousness in the scene and but also splashes of colour which are the technology used in the scene and the props. In referral to the spatial organisation or the mis-en-scene of this moving image, the spatial ratio of the landscape screen can be suggested as 1:1.5 approximately. The screen framing of the scene focuses on the main character in the beginning with him in a closed frame so the audience is not intimate with the character but are still aware of his authority and superiority. This authority is depicted by the first few shots of just him as they closed screen him with his top body and the audience looking slightly up at him. As the scene progresses its 3 shots of him and then 2 shots which depict him standing at the head of the table looking down and over the rest of his colleagues. With this shot being purposely shot behind and above him slightly, it is intended that he look more superior to the people sitting at the table, even his boss who is sitting at the opposite end. The angle of the camera makes the main character look larger and superior, with his colleagues sitting at the table looking smaller and at his attention. In the beginning of the scene, the main character is shown focused with the background slightly unfocused because of the action in the scene which is him explaining a recording. This is to show the hierarchy of important elements in the scene where the main character is high and the background is of low. The screen then cuts to the view of the main character in front of the table slightly behind him to give the audience his point of view but slightly elevated to show his importance once again. This view focuses on all the characters in the scene with the background only being unfocused to signify that all the characters are important now to the atmosphere of the scene. The scene of this moving image is set in a meeting room thus the darkness of the room with spotlighting to light up the space. It’s mainly spotlighting and some reflective light from the technology screens which light up the set, with the spotlights lighting up the table and the characters seated around the table. The expressive content of this scene is mystery and curiosity. It also provokes a serious emotion with the content within the scene. 

Week 5 – Selfie Analysis

Student name : ChungYan (Charlene) Chan
Date of post: 24th August 2014 
Topic and relevant lecture week: Week 5 – Compositional Interpretation – Selfie analysis   

IMAGE 1 – Anna Akana

anna copy

Artist : Anna Akana
Title : Day 1 of Miss Earth
Year of creation : 2014 
Dimensions : 960 x 960 
Collection/ Source : Online, Facebook 
Technique & Material : Photography 
Genre : Selfie – Self Portrait 
Style : Dramatic, casual 
Image URL : https://www.facebook.com/AnnaAkana/photos/pb.345242775522258.-2207520000.1410024477./752966371416561/?type=3&theater 

Anna Akana is a famous YouTuber. This selfie of her was uploaded onto her Facebook fan page. This seflie was taken through a reflection of a mirror in the bathroom. She is standing in front of the mirror holding her camera against the camera and she was positioned in the centre of the composition. This image is a squared image and she takes up around 1/3 of the frame. When viewing the image the first thing we see is her face and hair. We can see her she is dressed up dramatically and this selfie is to display her make up, wig and her outfit. 

Even the first thing we see in this photo is her face, Anna is not looking directly into the lens but into her phone, which makes the viewers not to focus on her face and eyes but also the rest of the photo.  

In this image, we see a very strong use of colour. The dominant colour of this photo is a vibrant, saturated emerald green on her hair. To compliment the colour on her hair, she also wore a lighter green dress, this shade of colour doesn’t take away the focus  but compliments it very well. In contrast, the background of the bathroom is a dark shade of brown. This darker shade brings out the brightness of this bright green colour. While the background of the image is dark, at the very front foreground the mobile camera is white which balance and even out the value of the image. 

There are two types of light in this image, a soft spotlight and a backlight. Back lighting is located ceiling of the bathroom, it makes the wall very shiny and matches with her whole outfit and make up and emphasises the sparkles on her dress and face. The second light is the soft spotlight coming from the front of the mirror. This light provides the major lighting of the image. The colour of the light is creamy and gentle. Her clothing and the background wall are both reflective materials; therefore makes the image very bright and attractive. 

Also this selfie was posed and purposely taken, it was not planned and fully well designed. The background compliments the figure but the two large poles are also very distracting. From a distance it almost makes it look like a portrait photo but cropping the two sides of the image off. At the bottom left hand corner, there is a magazine/ newspaper just on the bench top which is also quite distracting to the overall composition. 

After viewing this image, it brings a happy, exciting and energetic feeling to the viewer. The colour green refreshes the mind and attracts us to look at her for longer. Its freshness also brings energy to us. The costume also suggest creativity, imaginative, unique and special.

IMAGE 2 – Oscars Selfie


Artist : Bradley Cooper [uploaded by Ellen DeGeneres] 
Title : “The Oscars Selfies” (not official) 
Year of creation : 2014 
Dimensions : 599 x 337
Collection/ Source : Online, Twitter, Ellen DeGeneres
Technique & Material : Selfie, Self portrait – Photography
Genre : Selfie, Self portrait 
Style : Casual 
Image URL : https://twitter.com/TheEllenShow/status/440322224407314432

This selfie was taken by Bradley Cooper at the Oscar. I am not sure how it happened exactly but from the picture, it seems like he was trying to take a selfie with a couple of people and lots of other people try to crowd around and get into the picture. 

The picture is mostly in black and white tone from the clothing; however, Jennifer Lawrence’s red dress in the corner pops out and catches the attention. As this selfie was not professionally planned and directed, the colours are not balancing and the bright red on the left corner leaves the image heavier on the left side. Because there is a large area of solid black in the opposite corner it balances the image back a little better. 

It seems like there is only one strong artificial light source coming from the top left corner of the picture. This can be seen by the shadow casted on Ellen’s neck and her left shoulder. The shadow has a relatively sharp edge; therefore, the lighting must be strong light directing hitting the top of her head. 

The selfie is very casual, messy and sudden as it was taken unexpectedly. People in the background are blurred as they were not ready at all for the photo and not everyone could get their whole self into the frame. A crowed of people all being so close up to the camera with most of them looking into the lens increases the level of connection and intimacy. The camera was positioned at a lower angle shoot up, this way they could capture more people that are standing at the very back of the photo. Shooting from the lower angle upwards is not a usual selfie angle, it was shot this way because the aim of this selfie was just for fun instead of perfecting the features of the figures. 

This selfie delivers a smile on peoples face while all the celebrities you see beautifully on tv or in movies are all crowed up just for a selfie. They are just doing something that we do everyday, giving the viewers some connections between the celebrities and themselves. 

Week 3 Image Critique

Student Name: Chin-Han (Kelly) Chiu n8862419

Date of Post: 18th of August 2014

Topic and Relevant Lecture Week: 3 – Moving Image Critique (Compositional Interpretation)The Dark Knight Moving Image Analysis

Contextual information:

Director – Christopher Nolan

Title – The Dark Knight

Year of creation – 2008

Cinematography – IMAX

Production Company – Legendary Pictures, Syncopy Films, DC Comics

Distributed by – Warner Bros. Pictures

Technique, material – Film, Movie

Genre – Hero

Style – Action, Adventure, Thriller

Video URL / originhttp://www.youtube.com/watch?v=Zg1cDKYmK98


Content: Batman enters the scene shattering a glass door with his vehicle. The Bat-Pod (batman’s motorbike like vehicle) zigzags through an indoor mall and taking up a majority of the path. People are forced to move out of the way while Batman leaves the mall and exits into the streets.

Colour analysis: The whole scene appears to be in a cold colour tone. There is a slight hue of blues from the path and the lighting. There is also a de-saturated orange from the headlights of the vehicle and in the ending street scene. Since the vehicle and Batman is made up of black and grey, the colour values are low. But the environment of the mall surrounding the vehicle have a rather high value due to the lighting, therefore the attention is all drawn to the Bat-Pod and Batman. When the vehicle exits the mall, the colour of the image returns back to the original tone of the movie: dark and dusky brown.

Spatial organization: The camera follows the movement of the vehicle, allowing the viewer to follow the character as he cruises through the mall. The lines on the floor as well as waved lighting feature on the ceiling all perceive towards the Bat-Pod as it enters and exits the mall.

Light: This scene relies heavily on the use of lighting. Although, this is a very rapid chasing scene, the electric lighting on the ceiling highlights the vehicle and the character, making it very clear and visible. The headlight of the Bat-Pod helps brighten up the dark surfaces of the vehicle and highlights the rapid movement of the wheels.

Expressive content – These moving images convey feelings of rapidness, recklessness and anger.

Mise-en-scene: This scene of the movie is shot with an IMAX camera with a ratio of 1.78:1. The scene is mainly made up of open screen frame making references to space beyond the cruising vehicle. The intersections of screen planes are also evident in this scene. The vehicle and character is displayed on the frame plane while the mall and the surrounding forms the geographical plane. The exit that the vehicle is riding towards is the convergence. The size and distance of the pole closer towards the convergence/ the exit of the mall, becomes larger as the vehicle moves closer in depth.

This scene consist of mostly long shots to emphasis the depth of the frame and use shallow focus to focus more on the vehicle compared to the environment. They are also shot from a lower angle, making the vehicle wider and stronger in appearance.

Montage: Continuity cutting are used to keep the camera moving with the character, which makes the audience a follower and the character the leader. There is still a wide space left behind the Bat-Pod and the camera, making the vehicle appear very fast and hard to chase up to. According to Monaco’s comments about Montage in Roses Theory (2001, pg.50), this maintains a realistic representation of the chase as well as the space, which the narrative occupies. 

Sound: The sounds of the scene work parallel to the vehicle. Only sounds of the vehicle such as the engine and movement of the tyres are recorded. Therefore, the viewers are not distracted by the screams of the people and the music of the mall but are focused on the Bat-Pod.


Inception Moving Image Analysis

Contextual information:

Director – Christopher Nolan

Title – Inception

Year of creation – 2010

Cinematography – 35mm, 65 mm and VistaVision

Production Company – Legendary Pictures, Syncopy Films

Distributed by – Warner Bros. Pictures

Technique, material – Film, Movie

Genre – Science Fiction, Heist Film, Film Noir

Style – Action, Adventure, Mystery

Video URL / originhttp://www.youtube.com/watch?v=QNE2hNmmT3A


Content: A man and a woman with her back towards the screen are seated outside a cafeteria. There is an explosion happening slowly behind the man and later another explosion behind the woman. There are obstacles flying everywhere from the explosion and the woman looks shocked from this situation.

Colour analysis: The scenes consist of colours like light brown, grey and red. The colour of the building behind the male character as well as chairs from the cafeteria share a very similar tone of colour. The value is lower on the left and higher on the right where the explosion first takes place. Therefore, the mixture of colours from the flying obstacle balances out the heaviness of the black on the left. The female character is dressed in red making her a focus out of the light greys and brown in the last image.

Spatial organization: The positioning of the chair, menu stand and the car directs the eye to the area of explosion. From the last scene, the viewer is positioned to be on the same level as the man, looking at the female character.

Light: The light is coming in from the right of the image based on the shadow casted on the motorbike. This scene is filmed in an outdoor environment, which suggests that it uses natural daylight. The characters are also undercover so there is no direct light shinning of their faces.

Expressive content – This scene expresses a feeling of suddenness.

Mise-en-scene: This scene is an example of a cinemascope aspect screen ratio of 2.4:1, which draws the attention to the background explosion. The screen is open, making references of explosions happening and characters outside of the space beyond the frame. The explosion is a long to medium shot to capture the flying obstacles from the explosion and the last image is a head and shoulder shot to capture the facial expression of the female character.

Montage: This is a slow motion scene, therefore the rhythm of the shots are very important. The camera is fixed and still on the first 5 images to capture the explosion happening at different areas from the same view angle (explosion happening at the back and then all of a sudden in front of the camera as well). In Rose’s Theory (2001, pg. 51) Monaco calls this: the accumulation of tension as a narrative climax develops.

Sound: The sounds of the scene work parallel to events happening in the scene. There are no dialogues and music during this scene, keeping our focus on the sounds of exploding objects and shattering glass.

Further Critique:

Both of the movies are an example directed by Christopher Nolan. However, they share really little similarities due to their difference in context (one is hero and the other is science-fiction). The only similarity is the adoption of sound in the scenes. Both of them have sounds that work parallel to the events happening on the scene. The first example, only the sounds of the engine are evident so that the focus is on the character. The second example, only the sounds of the explosion is captured to keep our focus of the event.

One difference that should be mentioned is the use of montage in these two scenes. The batman example, the camera is consistently moving with the vehicle capturing the flow and speed of the Bat-Pod. On the other hand, the explosion is captured from the same view angle and is slow to capture all the events happening in a short period of time. Therefore the movement of the camera is always maintaining our attention on what is meant to be the focus (e.g. the character).


Rose, G. (2001). Visual metrologies : an introduction to the interpretation of visual materials [ProQuest]. Retrieved from site.ebrary.com/lib/qut/reader.action?docID=10080966

Week 3 – Moving image sequence analysis

Student name : ChungYan (Charlene) Chan
Date of post: 13th August 2014 
Topic and relevant lecture week: Week 3 – Compositional Interpretation – Moving Image  

IMAGE 1 – Maleficent (film) 

Click on image to enlarge

Click on image to enlarge

Artist (Director) : Robert Stromberg 
Title : Disney’s Maleficent – Official Trailer 3  
Year of creation : 2014
Collection/ Source : Online, Youtube 
Technique & Material : Movie 
Genre/ Style :  Fantasy 
Image URL : http://www.youtube.com/watch?v=w-XO4XiRop0

Maleficent is a 2014 movie, this scene is from a official YouTube trailer of Maleficent. This movie talks about fairy tales, family love, relationship, love, hate, revenge and adventure. It covers a wide range of themes, but with good directing, filming and editing skills it can bring the movie together in one. 

The snapshot captured is a scene of the main character – Maleficent showing the audience the power and strength of her wings. She flies around the magical land, between the mountains, rocks and above the water. The scene happened very quickly to show the power and the speed of her flying. This scene displays fast camera movement, quick switch between shots and angles. The camera always follows the character and the viewers view it as a third person. The camera first position the viewers to be ahead of the character but the character surpasses the camera very quickly and the camera follows her flying behind her. 

The screen ratio follows the traditional cinema scope, 2.35: 1, this camera ratio provides a very long width which will benefit while shooting a landscape. Particularly in this scene, the director tries to show as much as the landscape as possible to tell the viewers about the environment better. When doing a long distance shoot, this ratio could show the distance and depth better than a narrower screen. A wider screen also allows the viewers to feel involved into the scene as if they were also part of it. In this scene with a long distance shoot and wide screen ratio, Maleficent could really display her character fully, how she very comfortable with the place and how much freedom she enjoys. 

The 2.45:1 ratio captures a lot of details in the shot, usually the background is defocused so the viewers are not distracted by the background. However, to emphasis the speed of the camera the director chose to defocus the foreground instead and giving a clear vision for the viewer to see the background. This will lead the viewers eyes into the far background as if they are flying with the character. 

Colour theme in this scene are blue, green, brown, representing the natural landscape. Colours are slightly saturated giving a bright but comfortable environment. Strong lighting from the sky and background was used to cast shadows in the mountain and foreground to also provide a mysterious feeling to the magical land of Maleficent’s.  

Watching this scene makes the viewers exciting with the speed and camera switch, it allows them to imagine themselves also flying with Maleficent.


IMAGE 2 – The Stolen Years 

Click on image to enlarge

Click on image to enlarge

Artist (Director) : Wong Chun-chun  
Title : The Stolen Years 
Year of creation : 2013 
Collection/ Source : DVD
Technique & Material : Movie 
Genre/ Style : Romance

The Stolen Years is a Chinese movie directed Wong Chun-chun. This selected scene is about the man in black struggling to make a very tough decision. His wife is in hospital paralysed due to a car accident and he is to make the decision whether to let her pass away peacefully or keep her alive with medical support and machines to maintain her life. 

The story had an open ending but this scene near the end is full of emotions. The main character asked his friend to help him out has he did not know what to do. The scene was shot next to the windmills, windmills represents hope. The scene started off with a long shot of the windmills then moved on to a longer shooting his back with the background. The characters back was facing the camera making the viewers feel disconnected from him and don’t know what he is thinking about. By him facing the camera with his back, he is seeing the same things as the viewers are. Allowing the viewers to feel slightly connected to the character like they were with him to make this tough decision. 

The camera then moves on to a shorter distance closer to the character, as if the viewers are getting close to him. The character is looking up to the windmill, representing he is still looking for hope in this despair situation. By positioning his friend a certain distance away from him shows that even though someone is with him, he is still alone to make this tough decision. 

The camera was shot as the same level as the characters for the whole time allowing the viewers to connect and ‘be on the same boat’ as the character. This scene successfully make the viewers to have a emotional connection with the character but have no logical connection as to what he is thinking because he back was always facing the camera.  

As the scene progress, the camera gets closer to the two characters, the shot of him and his friend shows the friendship between them; however, as mentioned above, he is still alone making the decision. With his painful facial expression, he is still very upset and lost but might have made a final decision for his wife. 

Like Maleficent, The Stolen Years is also a movie and has used the 2.35:1 ratio to shoot the movie. 

This camera ratio emphasises the feelings emptiness and sadness of the character. With the wide screen and long shot, the character only take up a bit of the screen leaving a lot of space around. Even when the camera zooms into the face, there is also space on the right side as the character looks outside the screen. 

The colour of the scene is mainly cool colours matching the emotions. Colours like black, grey, white, light blue were used to represent the coldness and emptiness. In terms of lighting, the weather in the scene is a gloomy day with lots of cloud. The sun shines through clouds leaving not much brightness hitting the ground. Through the clouds, it filters the light into a cool colour light. 

Viewing this scene makes the viewers depress because of the emotional connection with the character. The viewers could feel like they have the make the tough decision with the character. 

Week 2 Image Critique and Analysis

Student Name: Chin-Han (Kelly) Chiu n8862419

Date of Post: 09th of August 2014

Topic and Relevant Lecture Week: 2 – Graphic Image Critique (Compositional Interpretation)

Don't Buy Exotic Animal Souvenirs Image Analysis

Contextual information:

Artist Lowe Warsaw Advertising Agency

TitleDon’t buy exotic animal souvenirs

Year of creation – July 2008

Dimensions – Unknown

Collection/source – WWF (World Wildlife Fund)

Technique, material – Photography and Computer Graphics

Genre – Advertisement

Style – Photorealism

Image URL / originhttp://marketingtimez.blogspot.com.au/2013/05/the-best-of-best-in-creative.html


Content: An image with the setting located in an airport. A lady who has probably just returned from her holiday is dragging her luggage with blood trail. There is a series of empty check in counters on the left, taking up a majority of the space on the top half of the image. The woman is on the right and is about to exit the frame of the image with her back to the audience.

Colour analysis: The image is made up of colours like grey and white and is highlighted by the blood red and yellow line. Following the blood trail, the image goes from a low value to a higher value as eyes move towards the character. (Refer to the light analysis for more information).

Spatial organization Following the lines drawn on the image, the eyes starts off at the bottom left corner, moving with the blood trail to the character and back down towards the empty counter desk located on the left. The yellow line, blood trail as well as the lines separating the tiles all converge towards a vanishing point (refer to image). This vanishing point is brightly lit and is in the direction of where the lady is facing which is also the exit of the airport. The eye level is below the image, where the viewer looks up to the character making the audience inferior and the character powerful.

Light The fluorescent daylight shining in from the windows with the reflective surface on the tiles is giving the image a higher value towards the right and where the character is located. This is also a highlight to show that she is the character in focus. She is the one that’s causing the blood trail on the floor.

Expressive content – The audience is disturbed by the blood trail on the floor and feels a sense of guilt. The text “Don’t Buy Exotic Animal Souvenirs” warns the audience and is emphasised through the word “Don’t”.


You Are Not Yourself Image Analysis

Contextual information:

Artist – Barbara Kruger

Title – You are Not Yourself

Year of creation – 1984

Dimensions – 182.9 x 121.9 cm

Collection/source – Barbara Kruger’s Online Gallery

Technique, material – Merge of photograph and text

Genre – Figurative, photography, collage

Style – Conceptual and Feminist Art

Image URL / originhttp://www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html


Content: A woman’s face is divided by the reflection in the mirror that is shattered from the puncture located close to the centre of the image. The woman seems to be in pain from her facial expressions. Letters and typeface that looks to be cut from a newspaper are scattered evenly across the image to spell out “You Are” and “Yourself”. These letters are pieced like the shattered glass from the mirror. The word “not” is placed right in the centre of the image and is very small in contrast to the other text displayed on the artwork.

Colour analysis: The image consists of only black and white colours. The white is highly contrasted and highlighted from the use of black. Therefore there is an even balance of high and low value. Although it only uses black and white, the image of the woman’s face is still visible and realistic. The lighter tones on her cheeks and nose, a darker tone on her eyebrows and lip area as well as the curvature of the face shape in contrast to the dark filled background, help to distinguish and define the features of a woman’s face. The pieces of cut outs are clearly identifiable due to the sharp and clean edges from the cut and in contrast to the black. The letters located on these pieces of cut outs are also bold and black enough to stand out from the white background.

Spatial organization: Following the lines drawn on image, the viewer’s eye is drawn to the puncture located close to the centre of the artwork. Then the eye is drawn down to the word “not” and then reads the whole phrase, as “You are Not Yourself”. Finally, we realise that the character, which in this case is the woman, is not herself. As the audience, we are positioned to be on the same level as the character and is very close in terms of distance: it is as if we were holding the mirror and the character is the reflection of ourselves. According to Kress and van Leeuwen’s exploration evident in Roses Theory (2001, pg.4), this is a relationship of equality and intimacy between spectator and pictured (in this case it’s the character).

Light: Due to the use of black and white colours as well as the text collaged to cover most of the image, it is very hard to determine the type of light used in this artwork. However, in terms of its surroundings and the brightness of her nose and cheeks (areas that are higher in surface), we can see that the light is probably located right above and in front of her. This can be some sort of electric lighting fixed on the ceiling that highlights the character’s face.

Expressive content – The artwork expresses a feeling of pain and torture from the character’s expression and the cracked glass.


The two images are intended for different purposes and content but they share the same colour approach. In terms of colour, both of the images use very gloomy colours to demonstrate the personality of the image. They both use a highlighting colour to bring out the message: the first example uses red and the second example uses white to create a contrast between the darker colours: grey and black. This approach is often used in advertisements to emphasis and highlights the product. Same as interface and graphic design, a dominant colour is always accompanied and harmonised with a very similar tone of colour or rely heavily on colour contrast to bring out certain elements such as the heading and image.

On the other hand, they take on a different approach when it comes to spatial organisation. In the first example, the character is portrayed as powerful due to its distance and position from the audience. On the second example, the character is very close and shares the same level of position as the audience. Therefore, they are dissimilar in terms of its spatial organisation due to the relationship between the audience and the pictured.This is a very important technique to keep in mind when it comes to choosing images for a design. To capture a friendly appeal, it’s probably not a good idea to choose an image with a character that is looking away and slightly distanced from the camera. However, this will also depend on the focus of the image: is it the character or the surrounding environment that should be in focus?


Rose, G. (2001). Visual metrologies : an introduction to the interpretation of visual materials [ProQuest]. Retrieved from site.ebrary.com/lib/qut/reader.action?docID=10080966

Week 2 – Graphic Image Analysis

Student name : ChungYan (Charlene) Chan
Date of post: 6th August 2014 
Topic and relevant lecture week: Week 2 – Compositional Interpretation – Graphic Image Analysis

IMAGE 1 – The Last Supper 

Click on image to enlarge

Click on image to enlarge

Artist : Leonardo da Vinci 
Title : The Last Supper 
Year of creation : 1494 – 1498
Dimensions : 460 cm x 880 cm 
Collection/ Source : Santa Maria delle Grazie, Milan 
Technique & Material : Mural painting 
Genre : Artwork 
Style : Tempera on gesso,  pitch and mastic 
Image URLhttp://www.haltadefinizione.com/ 

 The Last Supper is one of the most famous artwork from Leonardo da Vinci. It is a mural painting located at Santa Maria delle Grazie, Milan. This painting is very famous because of its composition. 

The Last Supper was painted based on a scene of a Bible story of Jesus Christ having the last supper with the twelve disciples the night before His crucifixion. The painting is landscape orientated, with Jesus in the centre and six disciples on the either side of Him. They were all aligned sitting at a long dining table facing the viewers. The twelve disciples are divided into four groups of groups of three, they all seem to be talking about different things and looking at different directions. Windows are placed in the background showing the landscape outside the room. 

Due to the history of the painting and it was not very well preserved, some parts of the painting has fallen off and colours have slightly faded. However, based on the current image of the painting, Da Vinci used mostly brown, beige, white colours to paint the background and table. Red, green, blue were used for the colours of their shirts but the image has very low saturation resulting very little contrast between the colours. In comparison to the indoor environment, the window in the background brings light in to the room and bringing higher colour value in the background. 

The artist used a subtle spotlight and a backlight to bring lighting to the composition. The spotlight hits the centre of the image, which was where Jesus Christ was place. Though the spotlight was on Jesus, Da Vinci did not make it a very harsh, sharp spotlight; instead, it is a soft, light subtle light source. Backlight was shown through the windows in the background. The backlight enhances the overall brightness of the composition and also balances the darker tone at the back of the room. Without the backlight balancing, the painting would be very dark and dull.

In terms of compositional, this painting was analysed by a lot of people because of its perfection of one point perspective, as seen in the third picture. By extending the perspective lines, they all come together and hit the centre of the image- Jesus’s head which is also the vanishing point. Through the use of rule-of-thirds and one point perspective, the lines and objects leaning inwards bringing our eyes on Jesus. 

The painting shows symmetry and patterns through the rectangular shapes on the side of the wall and the windows in the background. The focus of the painting is from the centre to the bottom. The top of the painting is very empty with only the ceiling, this balances the bottom part which is very busy with twelve people sitting at a table full of food. The window in the background doesn’t only show the beautiful landscape outside the room but also displays a sense of depth and the level of grounds in the painting. From the dining table in the foreground and all the way to the mountain miles away. 

The twelve disciples and Jesus are all looking in different directions within the frame of the picture. Without the eye contact with the viewers, the viewers will feel like they are viewing this scene as a third person watching this story happening. The complicated directions of eyes also brings a mysterious feeling to the viewer, making us wonder what is going on and they are thinking about.  

The overall painting composition delivers a depressing atmosphere. The painting represents a dining scene; however, we don’t see what we expect to see from a dining scene. Not one person was eating and nobody was happy and smiling.  Jesus was placed right in the centre with empty space surrounding him isolating him from the twelve disciples and the twelve disciples forming smaller groups on the side. This painting presents a saddening atmosphere and a sense of betrayal. 

IMAGE 2 – WWF: Shark 

Click to enlarge image

Click on image to enlarge

Artist : Advertising Agency- DDB& Co., Istanbul, Turkey ; Creative Director – Karpat Polat; Art Director- Ali Bati 

Title : WWF: Shark – Exploiting the ecosystem also threatens human lives. For a living planet. 
Year of creation : unknown
Dimensions : 1400 x 989 
Collection/ Source : WWF – World Wide Fund for Nature
Technique & Material : Computer Graphics 
Genre : Advertisement poster 
Style : Modern 
Image URL : http://adsoftheworld.com/media/print/wwf_shark_0

This image is a poster published by the WWF (World Wide Fund for Nature). The aim of the picture is to raise awareness from us to do something and stop exploiting the ecosystem. The designer took a different approach to convey the message to the viewers, they tell the story backwards by showing the result if we continue to exploit the ecosystem. The designer took this approach in order to tell people to stop now avoiding the same result. 

In this composition, we can see the poster is divided into equal half. The poster was originally in a landscape orientation, after the division it has became landscape on both sides. As mentioned above, this poster is showing a before and after of us destroying the ecosystem. According to the way our eyes read/ look, we always read from the left side first and on to the right side as mentioned in the book -Visual metrologies : an introduction to the interpretation of visual materials. This reasons the placement of the before and after image on the page, because we read from the left the ‘before’ is located on the left, hence, ‘after’ on the right side. ‘Before’ showing a shark fin above the water with a caption “horrifying”; ‘after’ without the shark in the water saying “more horrifying’. 

Blue is the dominant colour of the image. It is saturated with the rich low value blue ocean and less saturated and with a higher value blue as it approaches the top. The image uses a natural, soft, calming lighting from the top, hitting the surface of the water. Backlight was also used to lighten the background (sky). To contrast and stand out the text on the image, white (high value) was used on the saturated low value blue.

The horizon in the image is not very obvious, the sky and the water also blended together. This effect let us lose focus to the water and background, instead put our eyes onto the shark fin. Perspectives are also not visible through this image. Shark fin is placed in the centre of the section allowing our eyes to put the focus on it first then as our eyes move to the right hand side we see the similarities between the two pictures and automatically compare them. 

By using shark as the representing animal also sends out a danger and warning message to the viewers as sharks represents danger and violence. 

The calming effect from the lighting and use of colour contrasts with the message of the poster, leaving a very deep impression for the viewers. This image leaves a bit of fear and reflection to the viewers, fear of the ecosystem collapsing because of us and reflecting on our actions from now on.  

Compare and Contrast 

The two images above are from very different background, eras, technique, method, genre and purpose. It is hard to compare and contrast them. The first image – The Last Supper, used a lot of elements in the image to convey a deep meaning and storyline behind it, the composition is generally very busy with a lot of contents in it; whereas, the second image by WWF, displays minimal but as almost as much as The Last Supper. The painting is narrating the story only involving viewers to look, where the poster is trying to convey and message which involved thinking and reflecting for the viewers. 


Rose, G. (2001). Visual metrologies : an introduction to the interpretation of visual materials [ProQuest]. Retrieved from site.ebrary.com/lib/qut/reader.action?docID=10080966