Week 7 Image Critique

Student Name: Chin-Han (Kelly) Chiu n8862419

Date of Post: 7th of September 2014

Topic and Relevant Lecture Week: 7 – High and Low Modality Images Critique (Semiotics)

Modality Semiotic Image Analysis 

Contextual information: 

Photographer – Patrick Demarchelier

Title – Gentlemen Only

Year of creation –2013

Dimensions – Unknown

Collection/source – Givenchy

Technique, material – Photography and Computer Graphics

Genre – Advertisement

Style – Fashionable and Stylistic

Image URL / originhttp://www.fashiongonerogue.com/givenchy-introduces-gentlemen-only-fragrance-campaign-with-simon-baker/

Critique: 

Semiological Analysis:

The Signs:

  1. The gentleman in the suit is the signifier and the signified is wealth, class and politeness. This representation is reinforced through his posture and stance. Although his suit is soaked with rain, the lighting from his left is creating a glow on his left shoulder and contrasting his suite to the woman and his surrounding, making him look very classy and expensive.
  2. The woman dressed in red is also a signifier and the signified is beauty and fashionable. The woman is very invisible due to the colour of her clothes, but because she has her head turned towards the man and with her hair covering the side of her face, she does not take away the focus from the guy and acts to accompany him.
  3. The last signifier is the cologne and the signified is scent and masculinity. The darker blue on the background is creating a strong contrasting effect to the perfume bottle. It helps emphasise the shape of the bottle allowing the audiences to see the product in detail. The colour of blue is also associated with masculinity and confidence.

Representational

Narrative pictures (or scenes within pictures) are recognized by the presence of a vector (2001,pg.13). In this advertisement the vector line that connects the participants is the outstretched arm of the man holding the umbrella for the woman. The actor is therefore the man, formed by the connection of his arm to towards the female as well as the way the female has her face turned towards the man. Therefore the woman is represented as reactors rather than actors, making him the attractive. This is further reinforced by the way the man looks straight at the viewer and not the woman, giving him the authority and confidence. This also demonstrates the target audience of the advertisement, which in this case is man with a high socioeconomic status.

Interactive Meaning

Images can create particular relations between viewers and the world inside the picture frame. In this way they interact with viewers and suggest the attitude viewers should take towards what is being represented (2001, pg.17). The relationship between the viewer and the man is represented as more demanding in terms of his direct eye contact with the viewer. The viewer is distance from the man due to the long shot capturing his whole figure.

Compositional

According to Kress and van Leeuwen (1996), left-right placement creates a ‘given-new’ structure (2001, pg.21). The given is on the left which are the man and the woman. The given is what we already know, is familiar to and has agreed on, therefore as viewers, we have agreed to that the man is posh and classy.The new on the right is perfume and is yet to be agreed by the viewer. It given also questions the viewer on why the female is so attracted to the man?  The new is then a solution: Use the perfume and make yourself an attractive and class gentleman.

Connections are made by the use of vector lines (the arm of the man) joining the characters together as well as the black on the man’s suit , the umbrella and the woman’s dress and hair.

Salience is used to indicate the important elements of the image. In this advertisement, the man is made to be the focus due to the lighting. There is a glow of light around his figure making him more obvious compared the woman in red that is darker due to the coverage of the umbrella. Other than the character that’s eye-catching, the product is also another focus on this ad. The colour contrast between the bottle and the blue makes the perfume stand out. The rain is also pouring around the bottle symbolising that the fragrance is like the man and is attractive even if its wet.

Modality

This is an example of high nature modality. The man and the woman are realistic but the highly contrasting background makes it decrease in modality.

 Modality Semiotic Image Analysis

Contextual information:

Artist – Earl Oliver Hurst

Title – Man holding umbrella for fashionable woman

Year of creation –1940

Dimensions – 22 x 19 in. (55.9 x 48.3 cm.)

Collection/source – Art Net

Technique, material – Illustration with ink and watercolor

Genre – Comic

Style – Fashion and Romantic

Image URL / originhttp://www.artnet.com/artists/earl-oliver-hurst/man-holding-umbrella-for-fashionable-woman-vQp7EPrhnpd-b_iddOgPLw2 

Critique: 

The Signs: 

  1. One of the sign is the man with the umbrella. The man is the signifier and the signified is well mannered and protective. The signified is demonstrated by the way he holds his umbrella for the woman. The smile on his face makes him approachable and friendly.
  2. The other sign is the umbrella. The signifier is umbrella and the signified is protection and cover. This is represented by the appeal of the woman because she is not affected by the pouring rain, whereas the man is.
  3. The last sign is the woman. The signifier is female and the signified is fashionable, trendy and confidence. This is reinforced through her posture and her facial expression. She is a symbolic sign of femininity and intelligence.

Representational

This is also an example of a transactive, narrative representation. The vector line that connects the participants is the outstretched arm of the man holding the umbrella for the woman. There is also the arm of the woman directing back at the man as well as the eye of the man directing us to the face of the fashionable woman. The actor is therefore the woman formed by the connection of her arms back towards the man and the man’s arm towards her. The man is accompanying the female, making her the more important.

Interactive Meaning

The woman is portrayed as more demanding due to her gesture and the way she has her chin tilted up. The viewer also feels distant from the woman due to the long shot capturing the whole figure.

Compositional

Due to the size and structure of the image, the most important lies in the middle of the image. However in terms of given and the new, the given is the man and the new is the woman. Therefore what we already know is that man is dominant and the powerful but what we don’t know is that woman is powerful in controlling the man’s desire. A gentleman holds the umbrella for the woman not only to show politeness but the need to obey the woman in order to get close to her.

The two characters are connected through the way in which their arms and legs intersect. The brown colour on the mans’ suit, connects to the colour of the woman’s raincoat. The orange of her skirt also grabs the attention. She seems to be confident and unaffected by the rain and therefore is cleaner and brighter than the man.

Further Critique:

These two images both consist of man holding an umbrella for a woman. They are not only different in terms of modality but also the position of gender roles. In the first example, even though the man is holding the umbrella for the woman, but he is using this act to demonstrate his power and authority. However, on the second example, the act of the man holding the umbrella demonstrates the desires for woman making him look weaker compared to the female. They both use similar signs but for a totally different message. Therefore it is very important to keep in mind of the context when interpreting the different underlying signs.

References:

Jewitt, Carey and Oyama, R. (2001). Visual Meaning: A Social Semiotic Approach. In Van Leeuwen, Theo and Jewitt, Carey, Handbook of visual analysis, (pp.134 – 157) [SAGE]. Retrieved fromhttp://srmo.sagepub.com.ezp01.library.qut.edu.au/view/the-handbook-of-visual-analysis/n1.xml 

Week 6 Image Critique

Student Name: Chin-Han (Kelly) Chiu n8862419

Date of Post: 3rd of September 2014

Topic and Relevant Lecture Week: 6 – Advertisement Critique (Semiotics)

Semiotic Advertisement Image Analysis 

Contextual information:

Artist – Creative Agency: Brad

Title – 55 Years of the Brick

Year of creation –2013

Dimensions – Unknown

Collection/source – Lego

Technique, material – Illustration and Computer Graphics

Genre – Advertisement poster, Graphic Design

Style – Minimalistic

Image URL / originhttps://www.facebook.com/media/set/?set=a.10151261827243403.461113.6665038402

Background: This is a Lego advertisement designed to test the viewer’s imagination and pop culture knowledge. There is a total of 55 poster puzzles referenced to children stories, films and songs and is used to illustrate 55 years of Lego. 

Critique:

Semiological Analysis:

In order to identify the meanings of the image, the signs of the image must be studied. Rose mentioned that there are two parts to a sign: a signified, which is a concept or an object and a signifier, which is a sound or an image attached to the signified (2001, pg.74).

The Signs: 

  1. The most obvious sign is the Lego logo on the right hand side of the image. The logo is the signifier and the company as well as toys are therefore the signified. This is also an example of a symbolic and synecdochal sign. Synecdochal sign is either a part of something standing in for a whole, or a whole representing a part (2001, pg.82). Therefore, the logo of Lego is a synecdochal as well as symbolic sign of bricks and toys.
  2. The second sign is the bricks. The signifiers are the bricks and the signified are construction and building. This is an example of a symbolic sign mention in Rose’s Theory, where there is a conventionalized by clearly arbitrary relation between signifier and signified (2001, pg.78).
  3. The third sign is the caption. The signifier is the story and the signified is the words: Imagine a Children’s Story. However, this sign could not be identified without interpreting its relationship with the bricks.

These signs are connected to create meaning and represent the whole advertisement and the most important sign. For example, the caption is a sign but we do not know what the signifier/ story is. Therefore if we link the caption to the colours and arrangement of the bricks, we will understand what the actual sign is. The actual signifier is therefore the story of “The Three Little Pigs” and the signified is the three pink bricks, the house, the black brick as well as the caption “Imagine and Children’s Story”. This is also an example of objective correlates mentioned in Roses Theory (Williamson’s analysis) where signified attached to certain signs in advertisements get transferred to other signifiers (2001,pg. 83-84).

Visual Social Semiotics: 

Representational

This is an example of a conceptual representation. It is a conceptual representation due to the similarity and reference to “The Three Little Pigs”. They define the children’s story through the use of colour and the position of the bricks (pink brick representing the pigs secure in the brick house and black brick representing the wolf on the exterior). 

Interactive Meaning

Although there are no direct contact between the image and the viewer because there is no character shown in the advertisement, but the image still acts to offer us a new way of thinking and a new way of understanding the story.

Compositional

The top left corner contains a brick that has 55 and years on its surfaces and on the bottom there is the caption as well as the Lego logo. The problem and question is on the top left: what is 55 years? The solution is on the bottom right: Lego is 55 years old. The centre holds the question and solution together and shows the portrayal of “The Three Little Pigs”.

The term ‘framing’ indicates that elements of a composition can either be given separate identities, or represented as belonging together (2001, pg23). The image is clearly framed off by the placement of the text and logo. The gap in-between the logo and the edge of the poster form the border of the image and disconnect the image from continuity. On the other hand, the colour of the background is connected to the  pink bricks as well as the outline of the house. This connects the poster to the colours of “The Three Little Pigs”.

The term ‘salience’ is used by Kress and van Leeuwen (1996) to indicate that some elements can be made more eye-catching than others (2001, pg25). The logos as well as the black brick are made to be more salience. This is because the rest of the image looks very harmonious in terms of its pink colour. Therefore there is a strong contrast between the soothing pink and the sharp black and red. In terms of size, the image of the house is place directly in the centre making it the focus and salience of the image.

As an illustration of the story, this image has a low nature modality. However this increase the audiences’ involvement as they guess what the bricks and the houses represent. The bricks are higher in modality due to its simplistic original shape.

 

 

Semiotic Advertisement Image Analysis 

Contextual information:

Artist – Revolve, Canada

Title – Brain Candy Toys Advertising Campaign

Year of creation –2011

Dimensions – Unknown

Collection/source – Brain Candy Toys

Technique, material – Illustration and Computer Graphics

Genre – Advertisement poster, Graphic Design

Style – Minimalistic

Image URL / originhttp://www.wabbaly.com/brain-candy-toys-advertising-campaign/

Background: This is an advertisement for a company called Brain Candy Toys in Canada that sells 3D puzzles, science and math kits. This campaign consists of 4 different designs that reference classic fairy tales through the use of math equations.

Critique:

Semiological Analysis:

The Signs:

  1. One of the sign is the animal. The signifier is the wolf and the signified is violence due to its sharp teeth. The signifier is the pig and the signified is food and the story “The Three Little Pigs”. They are iconic signs where the signifier represents the signified by apparently having a likeness to it (2001,pg.78). The features of the characters are iconic making it easy for the viewers to identify what type of animal it is.
  2. The other sign is the equation. The signifier is mathematics and the signified is the hard equation associated with mathematics.
  3. The objects are also signs. The hay is the signifier and the signified is weak and easy to blow off. The wood stick is the signifier and the signified is breakage. The brick is the signifier and the signified is tough and endurance.

These signs are connected to create meaning and form a new sign. The signifier is now “The Three Little Pigs” and the signified is three pigs, the wolf and the different houses.

Visual Social Semiotics: 

Representational

This is also an example of a conceptual representation. It is a conceptual representation due the use of iconic illustrations of pig and wolf that define the characters of “The Three Little Pigs”. The addition of the equation helps associate the iconic illustrations to the story.

Interactive Meaning

The viewer is eye levelled with the character making a direct contact between the image and the viewer. The crying pigs also have their eyes directed to the viewer, making us feel sympathy as the wolf attacks them.

Compositional

The information value is demonstrated in the centre of the image with the equations divided into top, middle and bottom. The top equation is the ideal because it’s the fastest way to build a house but the bottom equation is the real because its it’s the only way to avoid the attack and it’s the final solution. The middle equation links the top and bottom together. The position and structure of the equations makes the story easier to follow and understand.

In terms of Salience, the attention is mostly drawn to red on the bricks. This is also the solution to the equation, thus making it the most important in the advertisement.

Even though this image is illustrated, it still is high in modality because it is very similar to the original story. However, this image follows a scientific modality where the illustration of the story is displayed in a form of equations.

Further Critique:

These two images share a very similar style and are both very minimalistic. Although they are intended for the same purpose: to sell their toys and share the same story: “The Three Little Pigs”, they are still very different in terms of their approach. The Lego advertisement involves the audiences to think behind the image whereas the Brain Candy Toy advertisement involves the audiences to think while reading the advertisement. Therefore both of the images are memorable and keeps the audiences engaged.

They are similar in terms of the choice of colours (although one uses pink and the other uses green as the dominant colour) because they both use a vibrant colour to fill the entire background. This makes the advertisement look very energetic and appealing to younger audiences.

Both of the advertisement contain more than one sign but are all connected to create meaning. This is very important in design when you have to relate the sign of the product back to the sign of the character and etc.

References:

Jewitt, Carey and Oyama, R. (2001). Visual Meaning: A Social Semiotic Approach. In Van Leeuwen, Theo and Jewitt, Carey, Handbook of visual analysis, (pp.134 – 157) [SAGE]. Retrieved from http://srmo.sagepub.com.ezp01.library.qut.edu.au/view/the-handbook-of-visual-analysis/n1.xml

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 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

Critique:

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

Critique:

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.

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

Critique:

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

Critique:

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).

Reference:

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 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

Critique:

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

Critique:

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.

FURTHER CRITIQUE:

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?

Reference:

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