Social Relations Image Analysis x 2

Student Name: Kaela Wallace

Date of Post: 6 September, 2014

Topic and relevant lecture week: Week 5/6 Semiotics 

(1)  (High Natural Modality)

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Artist: Bernie Boston

Title: Flower Power

Year of Creation: 1967

Dimensions: Unknown

Collection/Source: Famous Pictures

Technique/Material: Photography

Genre: Landscape

Style: Anti-Vietnam War Protest, black and white

Image url/Origin: http://www.famouspictures.org/flower-power/

 This photography was taken by Bernie Boston during an Anti-Vietnam War Protest which was titled Flower Power. It depicts a protestor, George Harris, putting flowers into the barrels of advancing police officers as mentioned by Boston (1965, para. 3), giving it the title “Flower Power”. There are many building blocks and elements which make up the strength of this photograph and the messages it represents. 

The elements which appear to make up this photograph include the police officers, the rifles, the flowers and the protestors. It is a very simplistic but powerful photograph. When discussing the signifiers and signifieds in the photograph, it is obvious that the main protestor (George Harris) has unintentionally appeared white as a symbolic signifier, and makes a relationship with the signified as a representation of the innocent and harmless. This is then anchored down by the contrast of the signifiers of the police officers which also unintentionally but strongly act as another symbolic signifier and signified for power, death and evil which can then be attached to the representation of war. So this acts as a strong and powerful photograph which represents the innocent against the powerful. However, there is a main signifier which dominates this photograph, however small it is, it is the key to the meaning of this image. The flower is the main symbolic and index signifier as it represents the signified of beauty, love and peace. This is an example of the syntagmatic sign which represents peace and works to anchor both the powerful signifier of the police officers and the innocent protestor signifier to create an overall understanding and message to the situation in the photograph. In terms of Dyers list, the bodies,manner, activity and props all play a large role in the significance of this photograph. In the photograph there are the (appears to be) older men officers who stand as opposition on the left and the protestors (young men) on the right. This gives significance to the young men who were brave enough to commit to a (peaceful) act which is risking their lives. It also shows the hierarchy of the older men in uniforms surrounding the younger men. The expressions on the two individuals who stand out because of the ability to see majority of their faces, lead to assume that the man in the uniform on the left is confused and almost objecting from the act, acting on orders and power. However, the man on the right is almost expressionless, acting not personally but generally for a hope for peace. The act of the protestor putting the flower in the rifles of the uniformed men is also a strong index signifier which represents the signified as an act of peace against an act for war and power. This is the strength and focal point of the photograph and the fact that it appears that the uniformed men are advanced at the protestors with rifles aimed at them, and the protestor not resisting but as a response placing the flowers into their rifles makes the meaning of the photograph that much stronger. The audience is first drawn to the centre of the photograph (the protestor putting flowers into the rifles), and then to the surroundings which anchors down the action within the scene and the meaning behind it. 

Discussing the visual social semiotics representationally, compositionally and interactively, there is a lot of analysis that can be made about this photograph. This photograph is clearly representing a active narrative of what the Flower Power movement was. In terms of the interactive meaning, the contact is offer because this photograph is offering the audience photographic evidence of the real event which took place in a Anti-Vietnam War Protest. The audience can almost experience the scene. The photograph has been deliberately taken from a long shot to allow for the audience to get a full view of the action and context to gain a better understanding of the situation and its visual strength. Although this distance prevents a more intimate view of the people and the scene, the audience can also feel intimate with the issue of peace and war. The point of view is very interesting in this photograph as it has been shot from above as that is where the photographer was sitting at the time. It was not intentional that it be shot from above but there can be meaning found within it. It could be proposed that looking down onto this scene could represent symbolically the inferiority and foolishness of war and conflict. In terms of the composition of the photograph, the information value mainly rests centrally, with all the elements holding each other together. However, it can also be depicted as left to right, war to peace and in the middle is love which can ease/end the conflict. The framing is connected with the photo being from 1965 (thus its black and white colour) and its absence of frame lines. Salience wise, it is George Harris (the protestor in the white sweater) who stands out the most because of is contrast against the surroundings due to his white coloured sweater in contrast and his central positioning in the photograph. This photograph has a naturalistic high modality because it is a photograph of a real event which took place. It is a photographic reality with its only indifference to the view of the naked eye being its representation in black and white (due to the lack of photographic technology in the 1960s).

Famous Pictures. (2013). Flower Power. Retrieved from http://www.famouspictures.org/flower-power/

(2) – (Low Natural Modality) 

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Artist: Uknown

Title: Wife of Future

Year of Creation: Uknown

Dimensions: Unknown

Collection/Source: Tone TeluguOne Comedy

Technique/Material: Hand drawn/Computer generated

Genre: Landscape

Style: Futuristic 

Image url/Origin: http://www.teluguone.com/comedy/content/wife-jokes-659-6501.html 

Above is an illustration created to represent the future of wives in contrast to people’s knowledge of the past role of wives and husbands. There are very obvious and important building blocks to this illustration which contribute to its message and representation. 

The elements within this illustration which contribute to the semiotics of this image include mainly the wife and the husband and their props (to be mentioned later). In discussion of the signifiers, the wife and husband both act as iconic signifiers, both representing the past roles and responsibilities of each other and signifieds which read boss: wife and slave: husband. This is a humorous illustration to represent the changed world where the husband (in the past) was the one sitting down reading the paper, smoking a cigarette or cigar, and the wife was the one bringing tea and wearing the apron and bandana. These small signifiers which represent a wife and husband stereotype help bring meaning to this illustration and its message. These two also act as paradigmatic signs because what they appear, is not what they are because of the opposite stereotypes dominating the individuals. For example, the male is the husband, however is not within the husband stereotype because that role is being filled by the female (wife) and vice versa. According to Dyers list, it can be assumed that the illustration has been drawn to represent a typical marriage of a wife and husband with this being communicated through gender and ethnicity. The expression (or lack-there-of) on the husband and wife is also an indicator of tired and almost scared look on the husbands face as he walks and is looking directly at his wife. And then there is his wife making no eye contact because she is the superior individual in the relationship. The props which the husband and wife are using also helps create a further stereotype to assist the audience in understanding the ‘now’ roles of the husband and wife.

In analysation of the visual social semiotics of the illustration, it can be acknowledged that the representation of this illustration is a narrative action because of it representing a story. It represents a story of the future wife, where the husband is the slave to the wife and the wife sits around reading the newspaper. This is a denotive sign which uses the text ‘Wife of Future’ to describe and anchor down the image of the wife now taking charge of the husband/male role. The interactive meaning of the illustration in terms of contact is offer because neither individuals are looking at the audience. The wife’s eye contact is not even visible in the illustration, however, the husband’s eye contact is focused upon the wife, allowing the audience to look upon the event rather than have a closer relationship with it. The distance of the illustration is a long shot, displaying more of a scenario of a random/typical married couple, allowing the audience to have no personal connections to the illustrations but perhaps a personal connection to the idea that the illustration is portraying. The point of view is slightly above, but not enough to make a difference to its portrayal of power or superiority. When referring to the information value in the illustration, there is slightly a horizontal positioning in terms of the elements with the ideal on the left and the reality on the right (from the perspective of a husband/male). There are no frame lines or contrasting in colour which relates to the communication of the illustration, thus the image is a connected frame. In terms of saliency, it is obvious that the husband has been placed as a focal point with his whole body being in view but the body of the wife being cut off. The husband is also the salient point because of his slightly larger body to the female and the amount of space he takes up in the entire illustration in comparison to the female. This illustration has a low naturalistic modality because of the unrealistic cartoon representation of a husband and wife marriage. The concept may be a correct observational modality, however, the illustration is not a representation of the view of this action by the naked eye.

Advertisement Image Analysis x 2

Student Name: Kaela Wallace

Date of Post: 6 September, 2014

Topic and relevant lecture week: Week 5/6 Semiotics 

(1)

Ad1_Analysis

Artist: Coca Cola

Title: Everybody’s Happy … Have a Coke

Year of Creation: 1945

Dimensions: Unknown

Collection/Source: Online

Technique/Material: Hand drawn/Computer generated

Genre: Portrait

Style: World War II

Image url/Origin: http://annhetzelgunkel.com/food/cokeimages.htm

Above is an advertisement for Coca Cola and designed by Coca Cola. When analysing it at a more complex level, a semiotic reading of the image helps bring out the messages within the advertisement. In terms of the building blocks and elements which make up the advertisement, it has approximately half and half of graphics and text. It consists of a focal point image taking up majority of the advertisement page, and then the rest is text and some smaller graphic images representing the Coca Cola brand. When discussing the signs within the advertisement specifically, it can be observed that the main image serves as an index signifier, the Coca Cola bottle and brand image acts as an iconic signifier and the text serves as an anchor for these images. The relationship the signified and signifier of the main image is index because of message the image is conveying which is a good time which is communicated by the people in the image and their body language and they are representing an index signifier of a good time with the product. There is also an iconic signified relationship with the signifier specifically within this image which is the uniform and badges on the clothes of the people in the image. This communicates them as war veterans. The Coca Cola bottles and brand images which have an iconic signified and signifier relationship, communicate the brand and also help anchor the image with the brand’s message. The ‘Everybody’s Happy, Have A Coke’ title at the top also acts as a symbolic signifier where the signified is these words which represent that you have a coke when everybody’s happy. Dyer’s list can also help when analysing the image specifically. In the image which is a key focal point of the advertisement for Coca Cola, they’ve intentionally used young adults in a relaxed environment but energetic scene to reach out to a specific target audience. The different genders and uniforms of the veteran officers also helps to represent the Coca Cola brand as universal for men and women, and the different uniforms also represent an iconic signifier of which the signified is navy, army and nurses. It communicates that this is what veterans drink to leisurely. The manner and activity of the veterans in the image also represents the scene as happy and relaxed where all are smiling and/or interacting with each other. They’ve also placed Coca Cola’s in their hands as an iconic signifier to represent the brand and further connect the brand with the scene and message of the product. The relationship with the image and the title text act as a syntagmatic sign working together to represent the ideals of the product and the text particularly working as anchorage leading our perception of the message.  

When analysing the advertisement further in terms visual social semiotics, a more descriptive and detailed analysis can be made. The analysis can be broken down into three criteria of visual social semiotics. These include representational, compositional and interactive meaning. When describing the representational communication in the advertisement, it is clear that it is attempting to convey a narrative within the main image, with a collection of vectors and actors communicating a specific message about the people and their relationship with the product. This type of communication is transaction with the use of individuals and product in their hands only. In terms of the advertisements interactive meaning, the individuals in the scene are displaying a contact offer, due to the lack of eye contact with the audience and more of interaction with other individuals in the scene. This is creating more of a distant relationship with the audience and more displacing something to us about the product, rather than getting us (the audience) involved. The distance in this advertisement image also plays a large role in the communication of the scene. They’ve deliberately used a medium shot of all the individuals interacting with another, creating more of a social relationship with audience. In terms of point of view, they’ve used a direct engagement with the scene to allow the audience to feel more involved in the scene and create more of an equality with the scene, the product and the audience. In discussion of the composition of the advertisement, the graphic image has a central information value rather than given or ideal, because it neither displays old and new or fantasy and reality. In this case, the advertisement has the image at the top and anchoring text at the bottom, holding each other together in terms of communication for the product. This advertisement uses a connect framing to bring the vectors of the ad together with the similar colours, empty spaces and rhythm communicating this. The salience of the advertisement can relate directly to the focal point image which dominates the ad as an explosion of activity, colour and size. The modality of the advertisement can be referred as a high naturalistic modality because of the depiction of the individuals in the image very realistic and most probable in terms of representation of real life and the very minimal-none distortion. Scientifically speaking however, it has a low modality because the advertisement is attempting to propose a plausible realistic scene rather than present truth and facts.

(2)

Ad2_Analysis

Artist: Pepsi Cola

Title: Pepsi-Cola The Light Refreshment

Year of Creation: 1953

Dimensions: Unknown

Collection/Source: Online

Technique/Material: Hand drawn/Computer generated

Genre: Portrait

Style: 1950s

Image url/Origin: http://graphic-design.tjs-labs.com/show-picture?id=1174874534

Above is an advertisement for Pepsi Cola which is designed by Pepsi Cola and is a competitor against Coca Cola. This advertisement is very different in its communication and arrangement making it a good candidate for the first images under the analysis of semiotic reading. The building blocks which make up this advertisement, however are similar when comparing the Coke and Pepsi ads. This Pepsi Cola advertisement is made up of various graphic images, titles and a body of text to anchor down the message of the product. The woman centred in the middle, however, acts as representation of the users (or potential users) of Pepsi and also a focal point for the advertisement itself. In analysation of the signs within this advertisement, there is the comment ‘Pepsi-Cola The Light Refreshment’ which acts as an index signifier, which signified the Pepsi Cola as a ‘light’ refreshment, also conveying as a denotive sign which describes the product and can be read also as the ‘skinny/thin/healthy’ refreshment, which then anchors down the centre woman signifier. This woman in the middle, is the first signifier which is noticed by the audience and was illustrated to obviously target a female audience. The audience are drawn to this advertisement because of the illustration of this skinny, independent looking, powerful woman (an iconic signifier), and this signified a skinny, independent woman who drinks this product which is then anchored down by the surrounding images and text. The iconic signifier which anchors these images down is the graphics of the brand, helping to communicate the message and representing the purpose of the advertisement, which could be that Pepsi Cola is for the women who want to enjoy a refreshing drink without getting fat. Plain and simple. The image of the dinner table and Pepsi-Cola in the glasses also acts as an index signifier, which signified that the product can be enjoyed with meals. Through Dyers list, the woman in the centre can also be further analysed to gain a clearer understanding of her positioning. In terms of this advertisement, the woman displayed in the centre is clearly a focal point for Pepsi Cola’s message and representation. They’ve chosen to represent a woman in this advertisement, communicating that they intentionally made her a powerful, thin-figured woman to aim for an audience of women. Her eye contact and expression also represents her as a superior being with her head tilted above the audience and her eye sight looking slightly indirectly over the audience also representing her as superior. Her body language also communicates a lot in conjunction with her manner with her hands on her hips making her appear large and is an assertive gesture. As an advertisement for Pepsi Cola, the signs which make up the building blocks seem to work collectively to convey a message which reads that Pepsi-Cola is a light and refreshing drink which is for women who want to stay skinny.

In terms of the visual social semiotic analysis of this advertisement, the Pepsi-Cola, like the Coca Cola ad can be analysed under representation, interactive meaning and composition. In reference to the representation in the advertisement, the Pepsi-Cola ad is conveying more of a conceptual argument rather than narrative which is what the Coca Cola ad does. The Pepsi-Cola advertisement more-so visually defines the product and users of the product via the woman in the centre and the supporting textual annotations. The interactive meaning of this advertisement, in comparison to the Coca Cola ad is creating a demand type contact with the viewer rather than offer because of the almost eye contact with the woman in the advertisement who is leading the audience to drink the product and represent a person who is both skinny and drinks the product. She is also depicted as a dominated character as they direct her eye level down to the viewer.  In terms of the distance between this woman and the viewer, they’ve opted for a long shot of this woman to better shower figure and body language to further amplify the meaning of the advertisement, however, even with this long shot, the woman still manages to create a similar interests type relationship with the audience. She acts as a ‘this could be you’ type of representational figure. The point of view is also very important to this advertisement as they depict her as vertical and having power over the viewer. Compositionally, the advertisements informational value is almost ideality vs. reality. Where the audience could become this by drinking the product; Or is centrally held together to communicate an overall message about the product. The framing of this advertisement can be referred to as connected with the images and text having common qualities. For example, the red lipstick of the woman, the red in the picture of the dinner and the red in the label helps tie these visual elements together. And the textual font of the body of text being the same. It is obvious that the salience of the advertisement rests on the woman in the middle who stands out due to size, colour and contrast. Her dominant size over the page makes her eye-catching and her black attire with the cream background contrasting her greatly. There is a level of medium naturalistic modality in the image as she is represented as a beautiful skinny woman, however the filters and slight distortion in the illustration lowers the natural modality of the sketch. Scientifically, it has a low modality because it is more representing an idea than a fact.

 

‘Selfie’ Image Analysis x 2

Student Name: Kaela Wallace

Date of Post: 1 September, 2014

Topic and relevant lecture week: Week 3 Compositional Interpretation

(1)

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Artist: Kaela Wallace

Title: ‘Selfie’ portrait photo

Year of Creation: 2014

Dimensions: Uknown

Collection/Source: iPhone

Technique/Material: iPhone

Genre: Portrait

Style: Modern

Image url/Origin: iPhone

The content and purpose of this portrait ‘selfie’ image was to provide an up-to-date profile photo for a social networking service website (Facebook).

In terms of the colour analysis in this image, the portrait photo was edited from the original with a colour filter altered the overall colour of the image, making the saturation of the photo a bit lower and also creating a lighter glow of the image. The colours actually evident in the photo involve the white wall background with a snippet of an artwork on the wall, and the individual wearing a grey top with silver beads, brown sunglasses and a blue pendant necklace. There is definitely colour contrast in this image to bring out the elements of the individual from the background which is the white background to the grey clothed individual. In reference to the spatial organisation of the portrait image, there is definitely some clarity in the definition of it as a portrait image with the white bands on either side. The picture is also organised in a way that displays the individual in the centre from a zoomed in shoulder/head shot. This is to increase the amount of details viewable in this picture such as jewellery and clothing for example. The ‘selfie’ has been shot a bit lower than eye level intentionally to create a longer view of other elements required in photo, or unintentionally due to the natural positioning of taking a self-portrait. The portrait which is shot of shoulder/head also gives context to the photo, in this ‘selfie’ for example shows casual clothing communicating a relaxed environment as opposed to a uniform in a work/study environment. The light evident in this image is mainly natural sunlight coming in through an adjacent window, probably taken when the natural light coming in is at its highest. The expressive content in this ‘selfie’ is relaxed and happy. The audience to this ‘selfie’ is compelled to feel delighted and satisfied by the content in the image. 

(2)

IMG_4290

Artist: Kaela Wallace

Title: ‘Selfie’ portrait photo 

Year of Creation: 2013

Dimensions: Uknown

Collection/Source: iPhone

Technique/Material: iPhone

Genre: Landscape

Style: Modern

Image url/Origin: iPhone

The content and purpose of this portrait is at the Venice Beach Canals in Santa Monica, Los Angeles in California, America and was taken to create a photo memory of my America trip in 2013. 

In terms of the colour analysis in the ‘selfie’ photo, there are a range of different colours which make up both the background and the individual. In the background, there are colours which include the blue sky and thus the reflection of the sky on the canal water below, the green vegetation which dominates the background of the image, and also neutral colours like creams and browns which are the houses in the background. The individual is made up of brown hair and sunglasses, a grey and white jumper and a light brown skin tone. The saturation in the image is in the middle with no colours dominating the scene or the individual. However, the skin tone of the individual does stand out as it is the individual which brings the attention initially to them and then to the background. This is a ‘selfie’ photo, however not in the same sense as a portrait type ‘selfie’. It is a landscape arrangement as it involves not only the individual but also a context which needs acknowledgement, thus the individual standing to the left, and the important context to the right which is almost dominating over the space of the individual. The ‘selfie’ is taken at eye level so to show the audience the point of view from the individual. The individual is intentionally shot from head/shoulder length with an appropriate view of the canals. It can be assumed that the shot of the individual in front of the canals was first arranged and then the canals were positioned in the contextual background. The canals have been shot so that the water and the houses on either side dominate the background with only a small sliver of the sky because of its low importance in comparison to the canals and housing. The image was set out with individual on the left and the canal background on the right as the photo was taken with her right hand so it would not be in the photo. This is intentional to make it look less like a typical selfie. The arrangement of the individual on the left and context to the right also encourages the audience to ‘read’ the image from left to right as the natural way of reading a comic for example. The light in this ‘selfie’ is natural sunlight because the photo was taken during the day and outside without any shade obstructions. The expressive content of this ‘selfie’ is delight, perhaps jealousy because of the location of the photo and excitement. 

Moving Image Analysis x 2

Student Name: Kaela Wallace

Date of Post: 28 August, 2014

Topic and relevant lecture week: Week 3 Compositional Interpretation 

(1)

MovingImage1_Analysis_svg

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. 

(2)

MovingImage2_Analysis_svg

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. 

Graphic Image Analysis x 2

Student Name: Kaela Wallace

Date of Post: 6 August, 2014

Topic and relevant lecture week: Week 2 Compositional Interpretation

(1)

GraphicImage1_Analysis

Artist: WWF (World Wildlife Fund)

Title: Deforestation and Lungs / Before it’s too late, wwf.org

Year of Creation: 2009

Dimensions: 1400×913 pxls

Collection/Source: Coloribus – Creative Advertising Archive

Technique/Material: Computer generated image

Genre: Landscape

Style: Modern

Image url/Origin: http://www.coloribus.com/adsarchive/prints/wwf-lungs-13153255/

In this graphic image, it is a landscape view of a group of forests with a clear representation of lungs at the centre dominating the image.

In terms of colour analysis, greens and browns are used to assist in creating a definite setting for the place of this ad, as well as a clouded sky of greys and pale blues. Because of the gloomy emotion in the ad, they’ve used levels of high and low saturation to help communicate their message in the ad. The area of interest is shown in brown, with a low level of saturation and low value colours, whereas the remaining of the image is shown in greens and higher levels of saturation and colour. In analysation of the spatial organisation of the image, there is a clear horizon where the forest meets the sky, and vanishing point which departs from the bottom of the lungs and proceeds diagonally into the distance. The eye level looks to be below the centre of the image, where the viewer looks down upon the image representing the viewer as superior; they have the power. Upon viewing the image, the audience is drawn first to the area of interest and then to the image as a whole to experience the issue and its context and then towards the horizon. The image relies on natural light which is filtered light from the clouds in the context of the image. Realistic lighting dominates this image. The expressive content in this image evokes a feeling of sadness and distress with its gloomy atmosphere.

(2)

GraphicImage2_Analysis

Artist: Vincent Van Gogh

Title: The Starry Night

Year of Creation: 1889

Dimensions: 73.7×92.1cm

Collection/Source: Van Gogh Gallery

Technique/Material: Oil on canvas

Genre: Landscape

Style: Post-Impressionism

Image url/Origin: http://www.vangoghgallery.com/painting/starry-night.html

This famous painting was created by Vincent Van Gogh and was painted to represent a landscape view of the village from an asylum with the ‘starry sky’ dominating the image, thus the name of the painting ‘The Starry Night’.  

In discussion of the colour analysis, Van Gogh has used a dark palette of colours with some splashes of bright yellows to represent the stars and moon in such a dark setting. He uses a range of colours from black, blues and greens with splashes of yellows and whites. In this painting, there is a lot of low saturations of colour in terms of the darker colours, along with the yellows and whites in the painting which stand out with their intensity. The harmonic composition of the colour in this painting is very smooth with Van Gogh using gradients to produce smooth colour transitions and and the colour scheme used in this painting creating colour harmony. When analysing the spatial organisation of the painting, there is an obvious horizon where the    edge of the village meets the distant mountains and sky that have been painted. There is also a clear vanishing point in the painting where the perspective of the village mainly demonstrates it going into the distance. When initially viewing the painting, the audience is drawn to the ‘starry night’ area of the painting and then drawn down towards the village and off into the distant mountains which backdrop the painting. The light used to light up the scene in the painting is mostly the stars and the moon, thus the name of the painting ‘the starry night’. Lights from the village windows also provide artificial light in the painting. There is also shadowing in the painting creating some realism in the representation of the landscape. The painting evokes a feeling that even in the darkest night there can still be light. It evokes hope.