2. MESSAGES OF THE ELEMENTS AND THEIR COMBINATION

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1 2. MESSAGES OF THE ELEMENTS AND THEIR COMBINATION Researchers have categorized visuality in a variety of ways. Annikki Arola-Anttila divides the visuality into dots that shape lines and forms, the dynamics of the elements and to rhythm and movement, and the dynamics of space and color (Arola-Anttila et al. 1982, 3). Anne Treisman categorizes visuality as color, contrast, curvature, the endpoints of lines and movement (Treisman 1986). Allan Hurlburt s categorisation is based on the style, form and content of the layout (Hurlburt 1989), whereas Bryan Peterson emphasizes the balance of the visual layout forms, tensions (contrast) and unity of both tint and color (Peterson 2003, 13). The content of the reality level of visuality is, further, divided into two parts. In the first, there are the elements of line, form, color and tension. The second is based on connecting the visual elements to composition and to guiding the receiver in the composition. In composition, the key concepts are balance, symmetry, directions and the use of colors and rules of placement. The purpose of studying these halves of the reality level is to examine how different elements and their combinations communicate. This approach to visuality can be named as pragmatic study. This approach is used by researchers connected with visuality in image-specific disciplines, such as art, architecture, photography etc. which create the basic theory of the visual elements and their meanings. Researchers generally agree on the base messages of visual elements (Arola-Anttila et al. 1989; Hatva 1998, Kress et al. 2001; Leborg 2002 and Waern et al., 2004). But when researchers discuss compositions of the elements, the messages are invariably more complex and not always clear. This is because the interpretations are connected with the researchers various cultural backgrounds and to their own, individual experiences. In research into visuality, researchers need to estimate how the visual content of the message works in every situation, context and culture. 2.1 The basic elements of line, form, color and tension The line and its form are the bases of the interpretation of visuality. A horizontal line, for example, can communicate as a form or through our own experiences in life a sense of peacefulness and a vertical line can communicate a sense of festivity. A slanted line is dynamic and tells about movement, while a curved line has tension. A broken line is aggressive and restless and a flourished line is spontaneous and organic (Arola-Anttila et al. 1982, 8, 11, 16.) See the section titled Elements in Figure 1. Tension can be connected with the form of a single element or with the structure between several elements. Forms the basic forms are the circle, triangle and square express in themselves and in the context they are presented. Of the basic forms the circle is soft, kind and light; the square and polygon are harder and more aggressive (Arola-Anttila et al. 1982, 26). The message can be based on the forms of the elements or on the agreement society has made, in which case the form becomes a symbol. An example of this evolution of form is the use of shapes in road-signs. The message of the basic forms is clear: the

2 warning signs are triangular, mandatory are circular and informatory are square. The forms have to be analysed critically, because these interpretations are not unanimous. The softness and pleasantness of the circle, for example, cannot be connected directly to the mandatory. If the circle is seen as a sphere made of metal, it loses the characteristic of softness and becomes hard and heavy. Color can express different values, attitudes, feelings, identifiability and it can activate, pacify, protect or warn (Arola-Anttila et al. 1982, 55). Cultures have different meanings for colors, which infer knowledge of the meanings is necessary when either preparing a publication for a community or analyzing a community s publications. Blue, in western countries is associated with authority it is no coincidence that the police have blue uniforms. Green is natural and calming but in traffic lights informs safe activity is required. Red provokes activity (McDonald s interior décor does not promote slothfulness) but in traffic lights red is the color of prohibition. On road signs yellow warns, blue informs and green guides. The colors are also classified amongst others as heraldic colors, liturgic colors of the church and symbolic colors. The symbolic color of marriage in China is red but yellow in India; and white in eastern countries is often connect with death and sorrow, whereas in the west white is associated with innocence. Tension is visible in the basic element or between elements. The tension can be in the forms of the elements, in differences between sizes, distances, directions, densities or colors. The form can be constructed in different ways from shapes of forms or combinations of forms, which merge into single entity (Järvi 2006, 71). Forms can be used to build tension and interest and to intensify the message. In order to emphasize the small size of an object, contrast is employed placing it beside a larger object (Arola-Anttila et al. 1982, 25). Tension is a basic element when planning interest in visuality, but the interpreter rarely notices thee tension. A newspaper, for example, in its simplest form creates interest with different font sizes on a page, big for headlines and small for column text that creates tension between them. 2.2 Composition, rhythm, balance and guidance People see and experience the space around them as three-dimensional. Space is the starting point of visual planning (Hurlburt 1989, p. 84) but is a changeable concept. The space of composition, in the context of media communications, is two-dimensional. The area can be big enough to be the page of a newspaper or small enough to be a stamp. The size of a newspaper is unchangeable, but the layout designer has numerous possibilities to plan from. When a photographer takes a video-film, they can use the viewfinder of the camera to choose the object of interest. The viewfinder defines and limits the space, but as the camera moves it creates new space for the picture. The simplest starting point of composition is to place the object symmetrically in the middle of the space. The object rises strongly out the surroundings and the result is balanced, which is called symmetry. Symmetry is good when taking a picture of a winner at the Olympic Games or of a single person at a special occasion. Symmetry raises the object into prominence, but does not arouse interest. Furthermore in both a still-image

3 and a video-image, symmetry over a period of time becomes and remains monotonous (Figure 1: Composition). The space of the composition can be divided asymmetrically. The best known version of asymmetrical division is the golden mean (Hurlburt 1989, 84). The main object is placed in the left or right third of the space so that the symmetry is broken. In western cultures the left third is considered more efficient because the reader, in the reading direction, notices the left part first. If the object is placed on the right, it stops the reader who has started from the left. The dimensions of the golden mean occur in nature; the golden mean is therefore considered to be a natural starting point for humans. The golden mean is found for example in the length and width proportions of shellfish and in the measurements of leaves or in branches that grow into smaller branches. Art (Da Vinci s Mona Lisa ) and architecture (The Parthenon) have for a long time used the golden mean as it is beneficial for a composition that viewers see for a longer time. An intriguing aspect of the golden mean is whether it s applicable to an interpreter of urban culture which is no longer in proximity to the dimensions of nature. Too much asymmetry is easily unbalanced and the receiver sees the image as restless. In these cases the asymmetry can contain either sensationalism or be seen as styleless or vulgar (Hurlburt 1989, 54-59). A western quality paper that wants a simplified and mundane appearance would use a simplified and symmetric layout with column divisions whereas a popular paper that is more sensational would use asymmetry. The colors of nature have their own order that people have adopted over the centuries. The order of the nature s colors can be seen in the color wheel. The closer the colors are to each other the better more naturally they can be used with each other. The further the colors are apart, the harder it is to use them harmoniously (Arola-Anttila et al., 1982, 53). A harmonious and moderate or effective and aggressive use of colors is based on the valour (monochromatic), analogous and complementary uses of the colors in the color wheel (Arola-Anttila et al. 1982, 55). In the space of composition the different elements can be united or they can separate from each other. This is described with rules of placement. The rules of placement are nearness, similarity, closeness or any other placement that unites or separates different elements (Huovila 2006, 159). The form is always present in visuality and it has connections to at least some of the other elements (Järvi 2006, 71; Brusila 1997, 27-28). Also color can unify different elements to belong to each others (Garcia 1989, for example , 114) or separate them (Garcia 1989, 110). Rhythm is based between different elements in the composition and it can be regular (a brickwall) or irregular (trees in a wood). The function of rhythm is to create interest and bring order to the visuality (Arola-Anttila et al. 1982, 19-21). In newspapers the rhythm is for example in the column division. Different directions of the composition are an effective part of the layout. In predominantly western countries reading occurs from left to right which directs the interpretation. The direction to the right is light, and is the direction of going to an adventure or to the future. The direction to the left is heavier that of returning, coming back home, the past or death. In interesting directional issue lies in propaganda pictures, in which the object often looks to the left, the past or the right, the future; e.g. Lenin, speaking in the

4 market place, faces left and Jesus, in the picture saying Let the children come to me, faces right. The artists of propaganda try to influence the receiver, to make them do or feel something. Lenin looking to the past should make the receiver want to participate in the revolution, while Jesus facing to the right should give the feeling that something better waits in the future. Directions are often connected with movement. The idea is a central feature of video, but movement can exist also in a still-picture. The feeling of movement is created with lines, elements that point the direction and sharp and unfocused (object-background) elements. Also surfaces that are so mosaic or kinetic, that the gaze does not understand the details, create the impression of movement (Arola-Anttila et al. 1982, 29-31), for which reason optical art uses this idea. The objective of placing elements into a composition is usually to provide balance (Hurlburt 1989, 84). When the objective is to avoid the monotony of symmetry or the imbalance of asymmetry, the solution is dynamic balance, which consists of colors, rhythm, movement and directions. In dynamic balance the object is emphasized, for example, by the tension of the size which is balanced by the element of color. A big, white and light-weight ball is balanced by a smaller but darker and heavier ball. In dynamic layout there is tension, balance and dynamics (Arola-Anttila et al. 1982, 24-25). Senders try to guide receivers with composition and layout. Senders, layout designers, can construct an order of elements a path on a page of a newspaper or in a photo and guide the reader to follow the elements in the eligible order. The biggest element in the space points out where the receiver/interpreter should begin the composition. This is usually on the top left or near the center of the layout space. In photo and newspaper pages, the receiver is directed to notice an important element of the photo or the main story of the page. If the biggest element is a picture, the direction of the photo content should point towards the headline of the story (Eyetrack 2004, Huovila et al. 2000, 67 and Pulkkinen 2008, 46 and 165). From the main element the interpreter is directed to the next element using a smaller, secondary element and rhythm (for example columns) etc. For readers who flip through newspapers, there are entry points in the pages which are sufficiently eye-catching to stop the reader, so they begin to look at the story more closely. The entry points can be photographs, color of typographic elements, headlines etc (Pulkkinen 2008, 46). Hierarchy is important to layout space as it directs the reader. Researchers are unanimous about the need to create hierarchy. The aim is to create a clear layout space in which tensions keep the reader s interest (Pulkkinen 2008, 46 and 165). In discussions of the effects of layout an essential issue is to analyse the balance and the dynamism and how the tensions large versus small, horizontal versus vertical, thick versus thin, dark versus light, warm versus cold or angular versus soft are used as a medium of the message (Moen 1990, ; Pulkkinen 2008, 35). In summary, at the reality level of visuality, analysis of the visual message and representation are studied, and how the visual message supports or represents the message that is sent. Firstly, these messages can be in the element itself, in the language of the line and tension and the meanings the society gives to them. Secondly, in the composition of these messages exist the rhythm of the elements, layout and style: how the visual

5 elements work and sent information is connected with the written or spoken message. The informative visual message is the most efficient when it is as clear as possible. Clarity is reached when the basic elements and their combinations have been used moderately. The more variety that occurs in visual messages, the more complicated the composition is to interpret by the sender, receiver or researcher.

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