Lecture 1: Visual Literacy - The language of design

As designers it is our job to communicate through a variety of type, image and motion. These ideas and opinions need to effectively portray the given message to different audiences in a range of contexts. The process of visual communication is the sending and receiving of messages using type and images. As designers, we produce work with the assumption that everyone has the same understanding of signs, symbols, gestures and objects. The way in which it is distributed and received can distort the message which was trying to be portrayed. 

Figure 1

Visual literacy is the ability to interpret, negotiate and make meaning from information presented in the form of an image. The interpretation can be based on present, past pr cultural references; but must still be effective when communicating a message to an audience. Visual literacy has 10 main principles. The first principle of visual literacy is the ability to interpret, negotiate and make meaning from information presented in the form of an image. This relies on the cognitive process of recognition (figure 1) which we will have developed in our social environment and cultural upbringing.

Figure 2

The second principle is that pictures can be read. A global language is developed through symbols and images in which we can interpret the meaning very easily. We begin to develop the ability to read images before we actually learn to read words. Figure 2 shows universal images that we can interpret as directions of how to take a tablet and how often throughout the day.

Figure 3

The third principle of visual literacy is made up of the presentational symbols whose meaning results from their existence in particular contexts. An example of this is the cross, which as a stand alone shape could present a church, first aid, pharmacy or helicopter pad. But then when put it into context or surround it with other symbols that are part of the same subject, we can begin to differentiate which one it may be representing. Figure 3 shows that until the cross is grouped with other symbols, it may not have been evident that it was representing a religion.

The fourth principle of visual literacy is that for any language to exist, it is necessary for an agreement amongst a group of people that one thing will stand for another. This goes back to the example about the cross and how it is the same shape, but changed slightly and used in different contexts, it can mean something completely different.

The fifth principle requires an awareness of the relationship between visual syntax and visual semantics.

The sixth is the syntax of an image which is the reference to the pictorial structure and visual organisation of elements. It represents the basic building blocks of an image that affect the way we ‘read’ it. An example of this is the presentation of food in a picture. This image would trigger how we think the restaurant will be, the quality of the food we would expect to receive, the price we would pay, the healthiness and also the cleanliness. 

Visual semantics is the seventh principle and the semantics of an image refers to the way an image fits into a cultural process of communication. It includes the relationship between form and meaning and the way meaning is created. It is how it fits into context and this could be cultural, geographical etc. 

How do we make an image (syntax) and where do we put it (semantics)?

Principle eight of visual literacy is semiotics which is the study of signs and sign processes, how we interpret signs. This principle is closely related to the field of linguistics, which studies the structure and meaning of language, but also the principle looks at non-linguistic systems such as visual language and visual literacy.

The visual elements of semiotics include:

• symbol - logo to symbolise the company.
• sign - identity to show the particular company that is producing the products.
• signifier - the brand and how that signifies the quality, innovation, creativity, design and lifestyle.
• metaphor - used to transfer the meaning from one image to another, conveying an impression about something relatively unfamiliar and associating it with something familiar. 
• metonym - reference to something visual to something with a more literal meaning e.g. yellow taxi in New York.
• synecdoche - a part of something to represent a whole e.g. statue of liberty to represent New York. (only works if universally recognised)

Figure 4

Principle nine is the concept of ‘working the metaphor’. This means that every object has the capacity to stand for something other than what is apparent, working on what it stands for. 

Figure 4 shows the image at the end of the lecture which I find very relatable as I have witnessed numerous conversations with this as the main topic and how symbols and everyday objects have started to represent lots of ideas and products that do not initially even relate to the object. It is the power of branding and conditioning which now makes us instantly associate any image of an apple with the brand Apple.