Compositional Interpretation/ Monaco’s Syntax Image Analysis

AUTHOR: Curtis Lau

POST DATE: 25th August 2015

Updated on the 26th August 2015

THEORETICAL FRAMEWORK: Compositional Interpretation/ Monaco’s syntax

LECTURE: Week 2

 CONTEXTUAL INFORMATION

ARTIST: Katy Perry

TITLE: Dark Horse ft. Juicy J

YEAR OF CREATION: 2013

STYLE: Music Video

IMAGE URL/ ORIGIN:  https://www.youtube.com/watch?v=0KSOMA3QBU0

ANALYSIS USING COMPOSITIONAL INTERPRETATION

 COLOUR

The colour scheme is consistent throughout the still frames as highly saturated colours is used. However, the shiny stainless steel metal cup grabs the user’s attention as they first view these few frames, which is considered to be the main element.

LIGHT

 The lighting effects are used to enhance certain areas of the space, including the ancient Egyptian painting, located in the background. In addition, reflective lighting has been used to highlight the object, the cup.

 SPATIAL ORGANISATION

Although the horizon lines is not clearly defined, the hand gestures for both frames 2-3 lead the users to a single point, cup, which is identified as the central focal point throughout these frames provided.

 EXPRESSIVE CONTENT

In this music video, it feels like the viewers are like in a dreamy/fantasy world, with the combination of ancient, Egyptians Mask and painting, and a touch of the elements in the contemporary era, bright modern spaces.

ANALYSIS USING MONACO SYNTAX

1. SHOT FRAME: SCREEN RATIO

1.33: 1 aspect ratio

2. SHOT FRAME: SCREEN FRAMING

It is a closed frame as all the directional lines leads into the centre of the frame

3. SCREEN PLANES

In the second frame, the cup is overlapping Katy Perry as is she eventually converging closer it for a drink shown in              the third screen. Therefore the relative size becomes apparent.

4. SHOT STRUCTURE

(Refer to image for further details)

5. SHOT FOCUS

All the frame uses a shallow focus to direct the users to the relationship between the cup and users within the image.          However, still keeping the context visible.

6. CAMERA

Throughout this clip, the editor uses the inferred technique, where the interaction between each frames seems to get           closer to us.

References 

1. Rose, G. (2001). Chapter 2: The Good Eye. In G. Rose, Visual Methodologies: an introduction to the interpretation of visual materials (pp.33-53). United States, US: SAGE Publications Inc.

Visual Social Semiotics Image Analysis B

AUTHOR: Curtis Lau

POST DATE: 25th August 2015

THEORETICAL FRAMEWORK: Visual Social Semiotics

LECTURE: Week 4

CONTEXTUAL INFORMATION

ARTIST: Johannes Vermeer

TITLE: “The Girl with the Pearl Earrings”

YEAR OF CREATION: ~1665-1667

COLLECTION/SOURCE: Royal Picture Gallery Mauritshuis/ Frick Collection in New York

TECHNIQUE/MATERIAL: Oil-Based Canvas Painting

DIMENSIONS: 46.5cm x 40cm

IMAGE URL/ ORGIN: http://www.slate.com/content/dam/slate/articles/arts/culturebox/2013/10/131029_CBOX_Vermeer-GirlPearlEarring.jpg.CROP.original-original.jpg

This narrative based selfie is a painting of a girl. She was also known as “the girl with the pearl earring”.

CONTACT

She is positioned to look straight at us and has developed into a powerful image with her body stance.

DISTANCE

This painting is a close up view for her and viewers will easily be able to have an intimate relationship with the object.

POINT OF VIEW

This is also a frontal angle of her but this time she is slighting angled, which creates a sense of power.

MODALITY 

This is low natural modality as it is a painting. However, every single detail of her is captured in this original painting.

SALIENCE

The lighting effects on her face and the highlights in her hair grab the viewer’s attraction. The black and plain background also helps make her stand out and will eventually enhance the users experience. Her clothing is dark and kind of blends into the background, which makes users focus on the details of her head.

COMPARSION BETWEEN BOTH SELFIE/PORTRAIT

Obviously, the style is the major difference between these two images, which changes the modality levels of them. However, portraits can be detailed as like a photograph if time and effort was put into them. The distance level and the amount of people will also change the mood and relationship of an image.

LESSON LEARNT

Although the images are both similar in the way, I feel that different visual social semiotics characteristics will effect how the users will interpretation the image. In addition, the eye contact is very important within a image as we as designers have to learnt to try to avoid users from looking outside the frame, staying inside the frame is a challenge to designers as we want users to capture every single element within the photograph, advertisement and even paintings.

References 

1. Jewitt, C. & Oyama, R. (2004). Visual Meaning: A Social Semiotic Approach. In T. Van Leeuwen & C.Jewitt, Handbook of Visual Analysis (pp.134-157). London: SAGE Publications Ltd.

Visual Social Semiotics Image Analysis A

AUTHOR: Curtis Lau

POST DATE: 25th August 2015

THEORETICAL FRAMEWORK: Visual Social Semiotics

LECTURE: Week 4

CONTEXTUAL INFORMATION

PHOTOGRAPHER: Delta Goodrem

TITLE: Audition-Jeremy Ryan family with Coach Ricky Martin

YEAR OF CREATION: 2015

COLLECTION/SOURCE: The Voice Australia

TECHNIQUE/MATERIAL: Photography-Based Selfie

IMAGE URL/ ORGIN: https://pbs.twimg.com/media/CJtKBJKUsAAJytK.jpg

ANALYSIS USING VISUAL SOCIAL SEMIOTICS

This narrative based selfie is derived from The Voice Australia and creates a scene for users to have different perceptive about the image.

CONTACT

Although the several children are all looking at different directions, all the adults within this picture are all staring straight at the users.

DISTANCE

The shot of this image is a medium shot, which connections the viewers on a social level.

POINT OF VIEW

The fontal angle is used for this image as the users are standings straight and tall, which create a sense of power to viewers.

FRAMING

There are right angles located on all four corners, which creates a frame around the image. This type of technique used develops boundaries.

MODALITY 

Since this was taken on a phone, a high natural modality level has been used and allows viewers to identify the users within the image. There is no sign of intensive editing in this image. The lighting effect blurs the background so the viewers’ only focuses on the family and the big red chair.

SALIENCE

The highly saturated red chair and the light inside the button stands out from the rest of the image and creates a three dimensional atmosphere.

References 

1. Jewitt, C. & Oyama, R. (2004). Visual Meaning: A Social Semiotic Approach. In T. Van Leeuwen & C.Jewitt, Handbook of Visual Analysis (pp.134-157). London: SAGE Publications Ltd.

Semiotics Image Analysis B

AUTHOR: Curtis Lau

POST DATE: 25th August 2015 

Updated on 26th August 2015

THEORETICAL FRAMEWORK: Semiotics

LECTURE: Week 3

CONTEXTUAL INFORMATION

PHOTOGRAPHER: Durval Filho, Luis Claudio Salvestroni

TITLE: URBI ORBI TRAVEL AGENCY/ Split Splash, New York  

YEAR OF CREATION: n.d

COLLECTION/SOURCE: Agencia 3, Rio de Janeiro, Brazil

TECHNIQUE/MATERIAL: Photography-Based advertisement

IMAGE URL/ ORGIN: https://simon0716.wordpress.com/wp-content/uploads/2015/08/ef5d5-split_splash_-_ny_2400.jpg

ANALYSIS USING SEMIOTICS

SIGNS

This advertisement does not flow smoothly as the users will need to view the image twice before the main message becomes clear. Therefore, the paradigmatic sign is clearly shown within it, as users will first interpret it as a piece of cake, however, this is not the case. After reading the anchorage given by the text, “New York by 8 INSTALMENTS? YES, WE DO”,   they will understand that when travelling to different parts of a single city/ country the expanses may vary according to the current economic sector.  Furthermore, this type of text also acts as focalizer that draws them closer to the meaning. From the information provided, a conative sign can be emerged. The relationship with the cake and economic sector both represents a successful travel experiences for users.

In addition, the website is located on the left hand corner so that users can gain more information about this organisation if they are lost inside the ad. This will usually be the final item that will be viewed by users.

COMPARSION BETWEEN THE TWO ADS

There is a major difference between the two ads mentioned above. The first image’s message flows smoothly with another due to the arrangement of the ads. However, in the second image, the viewer’s eye has to do two loops before the story is evident.

Overall, the advertisements are quite successful as all the elements can be identified eventually according to the semiotics principles.

LESSON LEARNT 

Smoothly flowing advertisement are an efficient way to communicate ideas across easily. In my opinion, I feel that this type of technique will be seen through my future designs of advertisement, however, different designers might have unique intake in designing.

References 

1. Rose, G. (2001). Chapter 4: Semiology. In G. Rose, Visual Methodologies: an introduction to the interpretation of visual materials (pp.69-99). United States, US: SAGE Publications Inc.
2. O’Neill, S. (2008). Chapter 5: Semiotic Theory: Signs and Signification. In S. O’Neill, Interactive Media: The Semiotics of Embodied Interaction (pp. 67 – 82). London: Springer

Semiotics Image Analysis A

AUTHOR: Curtis Lau

POST DATE: 25th August 2015

Updated on 26th August 2015 

THEORETICAL FRAMEWORK: Semiotics

LECTURE: Week 3

CONTEXTUAL INFORMATION

PHOTOGRAPHER: Rafael Lejtrger

TITLE: Energizer Flashlight

YEAR OF CREATION: 2007

TECHNIQUE/MATERIAL: Photography Based advertisement

IMAGE URL/ ORGIN: https://simon0716.wordpress.com/wp-content/uploads/2015/08/499bd-energizer_0001.jpg

ANALYSIS USING SEMIOTICS

 SIGNS

1. In a dark place, a torch is beneficial
2. In lending a hand
3. To eventually light the way to success in the future

The underlying main message of this ad is quite clear shown through the use of semiotics. It is a connotive signs as the hand is associated with the light and comes to represent the torch. This is also classified as a paradigmatic sign as it is not an actual hand that does everyday activities; it is just an imaginative hand.

This image is read diagonally and leads the users’ eye down to the text, located on the bottom right hand corner. This type of text, “Energizer flashlight” acts as an anchorage to the ad and guides the users about the main message that the artists is trying to convey. In addition, the background creates an underlying meaning that a torch is specifically used in dark places.

References 

1. Rose, G. (2001). Chapter 4: Semiology. In G. Rose, Visual Methodologies: an introduction to the interpretation of visual materials (pp.69-99). United States, US: SAGE Publications Inc.
2. O’Neill, S. (2008). Chapter 5: Semiotic Theory: Signs and Signification. In S. O’Neill, Interactive Media: The Semiotics of Embodied Interaction (pp. 67 – 82). London: Springer

Compositional Interpretation Image Analysis B

AUTHOR: Curtis Lau

POST DATE: 25th August 2015

THEORETICAL FRAMEWORK: Compositional Interpretation

LECTURE: Week 2

CONTEXTUAL INFORMATION

ARTIST: Frederick George Cotman

TITLE: ‘One of the Family’

YEAR OF CREATION: 1880

COLLECTION/SOURCE: Walker Art Gallery, Liverpool

TECHNIQUE/MATERIAL: Oil Based Painting

STYLE: Classical

IMAGE URL/ ORGIN: https://s-media-cache-ak0.pinimg.com/736x/29/e3/44/29e344e7e89a24d7c75d422b5a5b5aed.jpg

CONTEXT

Set on a midsummer afternoon, this realist painting is a reflection on a family’s lifestyle back in the nineteenth century. The family consist of a single mother, 3 children and a house maid.

ANALYSIS USING COMPOSITIONAL INTERPRETATION

COLOUR ANALYSIS

The common hues used throughout this painting are balance/consistent with the use of rich and intense dark colours. However, the highly saturated colours located in the right hand corner make the worker less visible. Therefore, directs the users’ attention to the family as the central focus. All family members clothing’s are high in value to highlight their actions.

SPATIAL ORGANISATION

The horizon/ eye line is not clear in this image, assuming that it is aligned with the eyes of the house maid. The family members are all doing different activities and each leads our eyes to certain points around the image. Firstly, the daughter and her mother sends a powerful message to the viewers as their hands gestures and eye direction leads the users to the horse that is slightly off-centre. Furthermore, the son and house maid both are designed with a pyramidal composition, similar to Mona Lisa, due to their actions. Moreover, the child in front of the house maid draws the users to the table and the surrounding objects. In conclusion, the spatial organisation of this painting has no focal point.

LIGHTING

The late afternoon sun set aside the family members from the background. The main story lies in the activities of each individual user within the painting. This type of lighting is also shown through the use of saturated colours.

EXPRESSIVE CONTENT

The painting creates a sense of mystery as the man in the corner is unnoticeable, which makes the users wonder if he is a part of this family.

COMPARISON BETWEEN BOTH IMAGES

Although the two images have the same subject matter, architecture, there are different characteristics that separate them (see above of further details). The major difference is seen through the spatial organisation of the image:

Image 1: The users’ eyes will be lost throughout this composition as the family members are all looking at different directions, doing varies of activities.

Image 2: The flow of image 2 is smooth as the focalizers draw users to a single point, which is quite a powerful statement.

LESSON LEARNT 

Focal points is a great way to capture every single element within the image. However, a single vanishing point distracts us from all surrounding elements. As a designer, I feel that the composition of an image is important as it will create an unique experiences for users.

References 

1. Rose, G. (2001). Chapter 2: The Good Eye. In G. Rose, Visual Methodologies: an introduction to the interpretation of visual materials (pp.33-53). United States, US: SAGE Publications Inc.

Compositional Interpretation Image Analysis A

AUTHOR: Curtis Lau

POST DATE: 25th August 2015

Updated on 26th August 2015

THEORETICAL FRAMEWORK: Compositional Interpretation

LECTURE: Week 2

CONTEXTUAL INFORMATION

ARTIST/DESIGNER: Randy Scott Slain

TITLE: NYC UNPLUGGED

YEAR OF CREATION: n.d

TECHNIQUE/MATERIAL: Photography

STYLE: Surrealism

IMAGE URL/ORIGIN: http://www.adcglobal.org/images/blog/RSS_9387.jpg

CONTEXT

This famous photography was to capture the emptiness of New York City during the Hurricane Sandy, when the electrical services was lost for days especially on West 26^th Street. It was tragedy event since the food supply was quite low at that time

ANALYSIS USING COMPOSITIONAL INTERPRETATION

COLOUR ANALYSIS

The use of rich dark colours has been used throughout this photograph with a hint of colour on the edge of the street. These colours and effects used lead the users’ eyes towards the vanishing point in a fast paced motion. The use of greys and oranges located in the background makes a 3D effect for the highly saturated colours in the foreground. Therefore, the users will have to experience this photography twice:

• First, the users will follow the horizontal strips of colours, which will lead them to the vanishing point and then they will revisiting the image again but this time admiring the surrounding element

SPATIAL ORGANISATION

The spatial organisation is quite simple and clean as there is not much happening in this image. The interaction between the vanishing point and horizon line is very strong; this technique gives depth to the photograph.

LIGHTING

The light qualities on the skies are used to highlight each building as the dominant colours are used for the horizontal strips. However, at the end of the vanishing point, there is a burst of light. The stone paving/ grass that form the base of the individual have also used another lighting technique to enhance the users’ experience.

EXPRESSIVE CONTEXT

The atmosphere of this image is moody and the horizontal strips of colour and the highlight around the building makes users’ feel that there is a light under the tunnel. This style of photographic technique does not aim to capture every single element within this landscape.

References 

1. Rose, G. (2001). Chapter 2: The Good Eye. In G. Rose, Visual Methodologies: an introduction to the interpretation of visual materials (pp.33-53). United States, US: SAGE Publications Inc.