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Voorbeeld
  2.  
  3. Hanzehogeschool Groningen (Hanze)
  4.  
  5. Block 2.2 Communication & Media (CPI2)

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Summary media theory

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Summary about media Theory, from block 2.2 at the Hanze University of Applied Sciences. With notes from the lectures and the chapters 4, 7, 8, 9, 10, 11, 14 & 16 from the book: Visual Language: Perspectives for both makers and users Van den Broek, J., Koetsenruijter, W., De Jong, J. & Smit, ...

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  • 13 januari 2021
  • 17
  • 2020/2021
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Media lectures
Lecture 1 Composition
Composition = about order and hierarchy. The way you arrange place elements within a design
- On a flat surface (2D), in space (3D) and in time
 Most media (message carriers) is two dimensional; what comes first
 Third dimension (depth) is often just a suggestion (except virtual reality?); shadows
 Time dimension is primarily visible in (suggestion of) movement

Good composition makes use of Gestalt laws like: figure-ground, simplicity, proximity, similarity etc.
 Viewer deciphers (ontcijfert) image into visual elements
 Viewer makes connections between visual elements

Gestalt = structuring elements all together as one whole (wood  chair)

Factors determining composition
 Shape of the surface on which the information is to be grouped (rectangle, either in portrait
or landscape format, circle, polygon, oval, etc.).
 Visual elements and the ways they are grouped

Central composition
 Elements are arranged so that they form a
recognizable shape, for example triangular
composition (is most common).
 Traditional: classical effect (static boring effect);
it is symmetrical

Pattern composition
 Creating order by placing images at the same distance apart, into a pattern
 Modern, less formal effect by distributing elements less randomly over the page; more
dynamic

Symmetrical vs asymmetrical composition
 Symmetrical:
Balanced, restful. Commanding effect when most important element is placed large and
central, surrounded by smaller, less important elements.

 Asymmetrical:
Absence of symmetry creates tension: viewer looks for a reason for the asymmetry and is led
by the diagonal line (vector) that commands the composition.
Vectors indicate depth and movement (cf. “Vectors point the way”, p. 140).

Crop composition
 Traditional/conventional method shows visual elements in their totality (using the golden
ratio)
 Unconventional method, by showing only part of an object or by having objects moving out
of the frame. Less formal, more lifelike than central/symmetrical compositions


1

,Close up is about framing: medium shot etc.  has to do with the distance between camera and
object
Cropping = taking some details, showing a part of the picture; you can crop a picture, specific thing of
a certain body. You can delete background elements

Frames and borders composition
 Papers size, frame, boxes around figures limit the space…
 … but space does not need to be determined by frames
Compositions with regular repetition of visual elements give the impression that the space in
the image continues beyond the frame
 Corners billboard table

Movement composition
 Comic strips are prime example of using visual means to suggest movement (with stripes and
clouds)
 Photographer can create sense of movement by:
- Object blur: focusing on background and having moving objects pass in the foreground
- Time-lapse blur: using a slower shutter speed
- Background blur: following moving object with the camera
- Sports blur: making a flowing motion with the camera or only partly following the
moving object (background + object get blurred)
- Artificial movement blur: generally an inferior solution
 Blur can also be added in Photoshop. Artificial blur is often inferior

Gestalt and composition
 Comic strips are ordered in time. Reader fills in gap between two images.
 Structure of comic strips can serve as example for other means of visual communication (film
and infographics) law of Gap-filling
 McCloud (1993) Understanding Comics: The invisible art.
Classifies composition of transitions

Action  action cause and effect
Moment  moment serenity
Scene  scene big transition in time/place
Subject  subject narrative transition
Aspect  aspect different aspects to create atmosphere
Non-sequitur absence of connection

Semiotics composition
 Hierarchy determines what is important or not
 For instance, through
- Sharp focus
- (Full) light
- Size (makes the most prominent thing larger)
- Distinctiveness
- Contrasting colour
 Reader/viewer tends to seek relationship between elements from left to right
 Past and present on the left, ‘the new’ on the right. Leads to fixed connotation

2

, - Left: origin, cause, past
- Right: results, consequence, future
 Across cultures? According to Kress and van Leeuwen (1996) as a result of huge export
Western visual culture became dominant.
 Top to bottom also reflects Western reading directions. However, connotation is different,
namely:
- Top: the ideal, the promise
- Bottom: the actual, the real
 If a composition indicates a different reading direction, reader abandons left-right or top-
bottom strategy. Vectors encourage this (lines, arrows, a pointing hand, a face looking in a
certain direction, contrast of light and dark)
 Reading in clockwise direction is also a main direction. Used in infographics, but also in
determining ordering of exhibitions in museum

Different distances according to Hall
 Public – whole body without any distortion, more than 3.6 meters
 Intimate – head, 45 cm or less
 Close personal – head and shoulders
 Far personal – to the hip
 Close social – to the knee
 Far social – whole person, with the body distorted as a result of perspective (legs are
particular foreshortened)

Vectors
 One-sided vector: serve in complex environments as visual links (first, then)
 Two-sided vector: connect two objects with one another
 Neutral vectors: start from an actor, but don’t lead anywhere specific

Rhetoric composition
 Composition is a means to achieve a rhetorical objective
 Capture attention by focusing on what interest the public / arouses emotions.
Bridge between object and viewer
 Devices such as repetition, visual rhyme, personification, contrast are important tools for
rhetorical compositions

Lecture 2 Typography
Typography (from Greek tupos [image/shape] and grapheia [writing]) deals with design of text,
usually with the goal of strengthening the text’s context.

‘Invention’ of printing (press) in Europe mid-15 th century:
Johannes Gutenberg in Mainz, Germany and around the same time Laurens Janszoon Coster in
Haarlem, the Netherlands
- Reproduction using print was already achieved two thousand years earlier in the China
by Cai Lun in 47 BCE.


Typography (chapter 8):
 There is no accounting for taste. Or is there?

3

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