Merely as there are techniques and a vocabulary for techniques to analyze the written word. so tantamount techniques and nomenclature exist to analyze and compose ocular texts. You must be able to:

a. Recognise and construe these techniques in ocular texts of assorted sorts

b. Analyse and measure the consequence of such techniques for a assortment of intents

c. Use these elements to compose a ocular text which communicates a textual construct or subject

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d. Annotate the representation techniques chosen. utilizing appropriate nomenclature.

e. Explain clearly and briefly in written signifier what is represented and how the techniques used achieve the coveted consequence.

Basic compositional elements of ocular texts:

Line: is the indispensable component to bespeak motion across a ocular infinite. A horizontal line creates a strong sense of equilibrium and balance e. g. the skyline in an unfastened outdoor infinite creates balance and spacial orientation. A diagonal line attracts the oculus and creates ocular emphasis. which heightens involvement and arouses wonder. A diagonal line can besides connote motion.

Direction: When we look at an image our oculus travels around the frame researching the contents. Direction will play cardinal function in our understanding the significance of this image. The sum and type of gesture created by assorted forms and lines can convey different emotional provinces and the way of that gesture will lend the strength of the emotional response. A viewer’s primary scan of an image is along the perpendicular so horizontal axis. This is how the oculus picks up the most basic information from an image. Now. if diagonal way is substituted for horizontal and perpendicular way the image will experience less stable. This is because the diagonal way is one that conveys a feeling of motion. exhilaration. and alteration. Diagonals are the most dynamic waies. for they can propose a strong feeling of instability and gesture. A left to right slope is associated with an ordinary graph. lower left indicating lower status. upper right bespeaking high quality or laterality. This diagonal is normally used in ocular communicating because it is so accessible to a spectator.

On the other manus. a left to right diminution will experience less stable to the spectator because it is perceived as “downhill” . This is besides a really implicative ocular use. Curves can take the oculus in either way. but because of the absence of angles the usual consequence is a grade of softness. Curved way besides has an component of instability in it. but unlike diagonals. it besides has the ability to be reassuring and safe. The sum of reassurance we derive from the curving way is dependent on how curved the way is ; a curve that makes a full circle is much more across-the-board than a curve that is shallow. A circle is a practical ocular trap. Once the oculus has picked up the curve of a circle. it will necessarily go trapped within the way of the circle and importance will be placed on anything indoors. SHAPE: may be the lineations of objects. may be composed from different parts of next objects. or may dwell of spreads or negative forms between objects. We respond to determine emotionally. so different forms will place us to react in peculiar ways.

Circles and all curvey forms will propose feelings that are unagitated. peaceable. confident and optimistic. Besides can be used to stand for the eternal. no beginning or terminal. cyclical. stoping up back where you started. protection. safety. household. heat – the Sun and universe are round.

Squares are stable. but dull and straightforward. missing imaginativeness. adult male made as opposed to portion of nature.

Triangles suggest action. agitation. struggle. tenseness but besides aspiration. spiritualty ( the three ) . The pointed. crisp edges suggest torment.
danger. hostility. Likewise thorns. fire. lances. cracked ice and mirrors. arrow caputs etc.


• full frontlet – a ‘demand’ shooting – engagement of spectator

• side on – withdrawal

• verticals/low angles ( looking up ) = power. laterality

• Verticals/ high angles ( looking down ) = failing and entry

• Horizontal oculus degree shootings give balance.

Vectors are the perpendicular or horizontal subdivisions of the work which direct our oculus to a certain ‘reading pathway’

Texture: is the ‘feel’ of an object as recorded in our sense memory. Texture is besides felt with our eyes because our sense memory co-operates with our sense of sight e. g. we will see a ocular representation of a Prunus persica as ‘soft. ’ Dimension: In world objects are three dimensional. The two dimensions of the level medium are manipulated by the ocular creative person to make the semblance of three dimensional world. Hue: is all the colors in the rainbow or spectrum of visible radiation. Traditionally these are divided into primary colorss ( ruddy. yellow and blue ) and secondary colorss ( all the remainder ) . For ocular intents they are more usefully divided into warm ( ruddy. orange and yellow ) and cool colorss ( blues and leafy vegetables and all colorss in between ) . To ‘read’ a ocular text we need to look at the balance of warm and cool colorss in the composing.

Colour commands the viewer’s attending and creates tempers and feelings to complement the message that the image gives officially. Feelingss are associated with certain colorss. so representations utilizing coloring material will incorporate verbal hints that enhance the temper of a image and place the spectator to ‘see’ it in a certain manner. Black and white translates world in a different manner than color images. In a black and white representation of something all coloring material is translated into different sunglassess of Grey. This gives a greater sense of the abstract and classifies the topic in footings of form and visible radiation and dark. When black and white are used together with coloring material this creates two different worlds and can switch clip and location. Red represents strong emotions or choler ( because associated with blood ) . Blood ruddy is the ultimate ruddy and represents passion. hurting. choler. masculine etc. Film frequently uses blood ruddy for cocottes and fast autos. It suggests extravagancy and ostentation. Orange – exhilaration. desire

Blue represents the cool and passive ( because associated with the sea and the sky ) . Blue can be used for truth ( bluish uniforms of constabulary. flags etc ) . Besides for Madonna like qualities. Yellow represents the bright. warm and cheerful ( associated with the Sun ) . Pink – sensuous emotion. feminine. romantic

Green – cognition. hope. promise. healing. Nature
Purple – passionate. smoldering. caring. royal
White represents artlessness and pureness ( associated with snow ) . The ultimate image of artlessness would so be a immature miss. with pale blonde hair. in a white frock and keeping a white lily. Grey – impersonal. uncommitted. non-involvement

Sepia – frequently represents the yesteryear
Black represents evil ( associated with the darkness of dark ) . Besides cryptic. fright. depression ( ‘black dog’ ) Death. lamias and burglars wear black. Impregnation: is the sum of Grey in a peculiar coloring material. Saturated colorss are bold and tied to emotion. Unsaturated colorss are softer and less dramatic. Unsaturated black and white is frequently used to stand for the yesteryear. The hereafter is represented by extremely saturated colorss. Low impregnation of coloring material is dull and deadening. can be reposeful and peaceable but can besides be dejecting. High impregnation of coloring material is vivacious. catch our attending and is emotionally aggressive. Value: is the apposition of light and dark and along with chromaticity and impregnation make up the component of coloring material. Monet’s pictures are full of visible radiation. Rembrandt’s are often dark and the Mona Lisa is a survey in the combination of light and shade. Scale: Acts of the Apostless to demo the dealingss between objects and does this by stand foring the comparative size of objects to each other. By pull stringsing the evident size of objects. graduated table can be used to bring forth a figure of effects. Scale is no longer merely used to make the semblance of deepness. but may be used to give information in the signifier of ocular communicating about characters and the dealingss between them.

The placement of characters and the scalar relationship between them reveals. without duologue. the relationship between the characters every bit good as specifying the traits of a character/s Scale can besides be used to make an emotional response in the spectator. By clever usage of graduated table the creative person may pull strings the feelings of the spectator in order to raise a stronger relationship between the characters in the picture and the spectator. Gesture: in ocular representations is ever an semblance but by utilizing assorted techniques e. g. blurring and a combination of the above elements a still image can be infused with implied motion. Because implied motion requires the spectator to raise his/her experience of gesture in existent life. suggested gesture is affecting and obliging. E. g. By film overing the corners of the Mona Lisa’s oral cavity Da Vinci creates the semblance that she is in the act of glowering or smiling.

The ambiguity of the image forces the spectator to construe it as he/she chooses. Composition refers to the agreement or administration of an art work. These elements of design are applied when a ocular text is composed by an creative person to make the following overall effects: • Unity – refers to the sense of unity. a feeling that all the parts belong together. • Harmony – the elements are arranged to make a peaceful/harmonious feeling. • Rhythm/Repetition – beat in graphics is related to motion – the agreement of ocular elements so that the oculus is encouraged to go in a certain ‘reading path’ across or around the art work. Diagonal way suggests motion. Repetition is another manner of proposing this. • Dominance – elements arranged so that one image/concept/motif dominates. • Contrast – arranged so that the elements are juxtaposed and their differences are emphasised. • Balance – is achieved when the parts complement each other so that the consequence is ‘equilibrium’ .


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