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A Visual Literacy

Donis A Dondis A Primer Visual Literacy

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Marco Obando
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914 vistas12 páginas

A Visual Literacy

Donis A Dondis A Primer Visual Literacy

Cargado por

Marco Obando
Derechos de autor
© © All Rights Reserved
Nos tomamos en serio los derechos de los contenidos. Si sospechas que se trata de tu contenido, reclámalo aquí.
Formatos disponibles
Descarga como PDF o lee en línea desde Scribd
PREFACE 1 ‘THE CHARACTER AND CONTENT OF VISUAL LITERACY | 2 ‘CoPOSITION: THE SYNTACTICAL GUIDELINES FOR VISUAL trtenacy 20 2 ‘THE BASIC ELEMENTS OF VISUAL COMMUNICATION 9 ‘ THE ANATOMY OF A VISUAL MESSAGE 67 {THE DYNAMICS OF CONTRAST 5 6 VISUAL TECHNIQUES: THE COMMUNICATION STRATEGIES 108 1 {HE SYNTHESIS OF VISUAL STYLE 125 8 {THE VISUAL ARTS: FUNCTION AND MESSAGE 120 ° VISUAL LITERACY: HOW AND WHY 12 BLIOGRAPHY 187 ILLUSTRATION CREOITS 180, InDex 191 IE CHARACTER AND CONTENT OF VISUAL LITERACY ay a? simp itle question reaches out to encompass The ist ong 2s, rom duct to deductive hiking, The umber of ce oe composi ot tha character wt cont cl wa nel That coment sree the many ways ths book wl the ature a ho sal exprianas trou explosion, anh ond ceviniton to develop 3 rstrodooay that makes pete rst al peat thr maximus sity both ss maka ana er of sal meses, in ord 9 make tam valy agiten to ts tamdvon knowles, recognition inches sel sre. tn ina ih Sota ath the eon i superaceby theennic—the ity fos, o recogni and understand en onment and oro eral orcs sly. From ney out ist experionee ofthe word, gio out rts ar plese, refronss a et, wth ret doce on what we me. Or wat wa wart ape, But tis des g- importance the vita! ar exerts ono Hes We ase th utraling that can ba mproved jut n the baie proces OF OD ono tended tb a icmp tol ot haran cm ation Neaceopt sory are exparence aller. Fer thesis, th proces equ itlenaay ta hysolgical Ics are aulomatc nthe huran nervous storm. Te act {ht rom thiemsnimal opt we renee wt amounts of incr: lenin many wavs ondat many owls prove ite aeazoment. I seen ara and simple and suggests to thre no mend 94 Ire nith our abies oso ard oe x an st rly ont tam tral ines, Caleb Gate, fn Ws book, Ta. aui.a Vail Case, commons onthe rare Othe sel ae: ven tho ad by alu natal nat yl Ex duc its civilization, Sights sift, comprehensive, simultoneausy Snatyticand syeti It requlesso lite energy % function, os does at the spaod of lit, hat permits our minds 0 recive ac hol an tieste numberof tame of information na action ot 2 SacoedGattagno'sobsration lays out the string vchness of ‘ur wal eazy. Ones nein to agen enthisticaly with is unclsios: With Sght ini are ge at once: wealth i bata lrngi et ii ond han Tv We seek sua Tetorment of our knowledge for many reasons, but primary among thems the dvetnes ofthe inform tion he lotenons tothe reo exparionos, han tho American space {hp Apollo landed on the moan, when the Test estan ssvonauts bots tuted the moon's surface, how many among the Interna Jona! telerison audience that viewed the evert would have traded thalive tanemasion atthe [Link] moment ation fra detailed, ‘ren eloquently tenor spoken report ofthe event? Ths steric fazsion is ov one Sampo o! the damonstation of he human preference for visual information. Thee are so many—the snapshot {ot fils out of he lotr fom lane sriend fr any, the thr ‘mansion mode! ot «raw buldeg. Why dowe sok wal reinforce Iman? Seeing a eiroct experience arth ise o sl deta To sept Information ithe closest wo cn otto the tue nature ofthe reality, The terion networks domerstrated thr cho en When cect eu srmection withthe Apollo 11 axrorauts was mos, they brand fant visual mulation of what wae smultaneaely being desorbed ‘arty. Given options the choi eat. NOt jus the astronauts boa the tour, the pews party, th sin al turn tothe iconic mode, whether to presave visual memory 0: to pusue@ teaheica prea. Weil sam tobe fom Miscou weal y, "SNOW ‘THE FALSE DICHOTOMY: FINE AND APPLIED ART Human visual experiences rimary i learning to undestand and respond tothe environmen vias ormation ithe olds ecard a human history, Taacve ples repre tec read atone word i ass SOMESETOD ya Both acts Smonstate Te neBY TS Tako aTEH ven OT METRE of not ory he proces bu" ao the vialae in society. The ete stumbling block in hisotfet isthe cateprizing of te visual rs ita potas affine and aoplad art At any port is hstory the dafintion silts ov! changes, ut he mast constant laters of eifrentsion are ut Ityand ates Utility describes the design snd making of objects and ates and dmonstrauons hat respond to basi neds. From prt cultures, ‘ent and contamarary, to today's hishiy developed technolony ft manutactre, tsic human ads change tl Man need oa "[Link] this, henoeds foo to hunt and kl for, cut; he needs pots to ‘cook inand ulenss rom wis oat He rands to protect sv ‘erable body fom the chaning weather and treacherous env on ment for this ho nosso to sow, ct won. He naeds to tay ‘warm and dy and protected from predatory animals, so he must ‘ula some kod of hala. SubTletes oF cultural preference o goo ‘phil location exert Ite pressure on thao needs; ely mere {ation and variation mak the prods informs of creative xe sion ae voprogontatv of aricu timo place. those arta of [Link] making the simple nacasitis of ie, it isassumed that every reir ofthe community can not cy lan to produce but Sito tan through design and dectatio give india and unce mx presion tothe work. Bu tho sof 2xroion is monitre, fst by the process of Waring the eat, and sacond, by the dictates of tune Tianality The important factor sat leering how fest 3d ccopte, The expectation tat a member of the community cant ‘buteat many love ofvsul oxprasion sespaaks akin ef Involve tent an partiigation that has withered avay nthe modern wold and ti is bawn hastened by 3 numberof reasons, but primary mong ther th contemporary conaapt of ine” art “Tha most requantly ete erence between he utara andthe purely artist ste messi of motivation toward prosueng the Froutfl Ths the rai of eethetis the inquiry nto th naire sna potceptin, the axperione of beauty, possibly just artistic brauty Butt purposes ofthe visual ans ate many, Sosa rales ‘hw duestion “ot whether aesthetic experiences have nirise worth trae abe valued ar deprecated by thr simulation ofthe profits ‘ TCE rebar Tate is more sore of ou? Tera Sage Fer thoy aOR TE OMT he PN ee “Wir er nas subject mater emotions, passions, Iai the wise Tange of the worious vol 9s, religous, seta, or domes he sub Ret mati changos rth the tent, having comm only te ai ity 19 communicate scecificaly of in the abstract. Henri Bergson pute, "Artis only a more grec vista of ely.” In other words, fen a this lofty el of evaluation, the visual ats have sore tn tion or utility tis 25 t0 draw adapta to pace various of the visual forms in some let onship to the» pole. Figire 11 pre ‘ents one way of expressing contemporary evaluative atte 4 ancrarecture Such adarram wold 10k quite sitferent nore itt representa ter cult, suchas the Pearse (12), io ortho “Bauhaus” point of view, which would youn any and al ct the ing and apphad arts. one cntal pei inte continu (13). Long bors the Bashau, Wilom Morris end the Pre-Rephuetits had inclinations inthe sme dvection. “Art” sd Ruskin, whowas thee cena Ey spokesman, “il one,any distinction between fin ard appied Ieee tian ares” The Prema aRN as aed On STN onto METEMSTTT thom totally out of sympathy withthe latr pilesophy ofthe Banus thay felectat al work of the ach ine" What mate by hand beaut, they believed, an though they espovend» ent of shing a with al, turing nor backs on the posites of mass prodution ws an cbvious ration of thor Si protaiered purposes, ‘What he Morrsdad “Arts and Caf group dd recognize tie Teaching tase 10 the pet torn interest n aul ang proud work Tmarship vas the impossbity of producing art without crfismen- Ship fact easy forgotten Inthe snobbish dicrotomy betwoen fine ‘and applied n hearts. Daring the Feaissre, tha arts ered Nis ‘raft fom the simple tasks On, and despite is igh estat, saree fis uid or union with thebasc craftsman. This poviod fr rongerangenter system and, ore impo tan, es specalzatio, ‘There wae are ow back and arth between tha atst and rats tran, enc als to ptt inal eos of wore, bated on By 2 transi of cometence. But aimee chango,medeschenaa What it [bbetd “ert can chango ae fart ae the poop ho fate fA halle lj chars," sys Cart Sandbure, nhs soem, "The Feopie, Yes,” "orever siting its star slot “The comtemporary vw ofthe visual rts mows beyond the polarities Of tine and “apeled” ar to quastions of supjectie expression and ‘jective function ard agin hm tended toward the association of ‘edivdual interpretation wth erative exprsion blongng “tho ing a and te response to purpose an ue belonging to the a> Died ats" Area pintr working ohms witnout commission lms himeal fiat without tought o hs market lec, 303 {horefor imo aly subjective A craftsman fehionng a esy ot {naps fo be quay subjective. He i making is pot ashape tnd sie to please hi ova laste, Hers, howeNe, 3 praca conowr an th design that pleas him ao hold wate? The modification of City impoceon' designer some measure of obey na so mediately recesiry or so apearent in the work of the eal pant ‘The American arhitctSullva’s dictum, “Tor folows function,” Ismostdynarcalylustatod bythe arplane designer. whose own Dreteraces ae ited by vat asmbled sues, propor ions, and trata inf, rsly 1. The fil product shaped by wht Fraoes Buti the subtler problem of design, there are ny eo ‘duets that can rfl: te subjective tastes ho signa ands function perfectly wall 1 notenly th designer that must foe proba af comoromisoin the motes of persona tate Frequently “narist or seuptor must ody 3 work bea. No has roca his commision fom a patron wha knows exact what he wants, Michelangelo's ong wrangles about his ons rom to Popes 2 the Iv nd most dept exampins a he problem a9 St St has in contaling his subjatve notions order tape 9 ton ‘And yt, no one wou consider “The Last Judgment” or “Davis” ‘commercial works Mchelsrgel’s resto for vo eating of 2 Sistine Chapel apty dem arses the weakness of that dichotomy. The Poze, a the rap Fesontatve of te nas ofthe Church, intumnons Icha ‘nm ioe which were ao rd fia by the cecs purpose o he ms ‘al twos a sual explonation of te "Creation" to an audance, [oa iterate, ana therefore unable 1 bd the Ein story, i ‘hey cou rend, una to imagine ia sch pale fashion she Sony's rama. The marl e's blancs bataen sha subject and the objective approach of the artist, anda commperabia alan bohaeen pueartstc exoresion and uly o* purpose, This deleatebalnce 'Gextraorinrly aren the visual rt; but whan fe use 98 ‘he exactness ofa bullseye. ho would quero this mural 334 ‘ante “tine ar" and yo! has a purpose and tty tat contradict the deintion ofthe socalled diffrence between fae and epptied ft “applied at shoul ba functional an ine” at witout utility, ‘This snobbish atte iflunaes many artist on bath side Of he lence and ceatsan atmosphere of aenation and confusion. Oddy enough, ‘tis fay roar daveoomen. The Jed oF 9 "work of art 'Sa madorn aro, reorcnd bythe concep! ofthe useum asthe "imatereposiory ofthe oeeuttul A public, anthustialy ate ‘sted in worshiping st the ats of beauty ina sou, approaches Itunmoves by an incodibly ugly environment. Ths atte roms atom tha mans, gives ia aura o beng spel and pty, testes fran elite, ands negates the tue fat ot how Strudk trough aur tae ang our wor we aap the pont of ‘ew abate a valle gare ot ove human potenti. We not ‘nly become crsamars wth not very sharp erie, But We Cony the sna! mportres ct visa communicat on both historically tn'n cur own ves THE IMPACT OF THE PHOTOGRAPH, ‘Tre at bation of exclusives: he “artist stat one spac alent sheabilty to draw, to sealicate the erwionment.s:t appa. forms, has ene tha, IMfocs the ial can rect int between the fate ably 10 se nd theaxtenal capa orepert, Inter, expres wat wisi thu hipaa ae textengad ani petal ihe procs. There ite dot tet contemporary ie style hs ban uae, and Crucaly, by te chong enacted on ity the let ofthe photoeraph In prints anguoge he primary ctoment wile iual factors, such as the physical setting or doi format an ilustation are secondary brsupgorive In re modern media jst the reverse i tue. The is Unt dominate; to rbot augment: Print not dead yt nor wilt ‘fer bo, but nevertheless, our lnguoge dominate cult Ns moved Psceptibly toward the conve Most of what wo know and lar that ve Guy and bali, whet we recognize and dese, determined by the domination of th human psyehe by she photograph Ard it til bermares in the four “The measure ofthe infuencr ofthe chotoyraph inal tsmany var: tons and permutations a throwback to th importance in ie of Sur eyes Attu Kaeser hehoak, Tho Act of Gestion, bse lneag ar bce rnate thesia eure Bag ns caen abso ooneae tll roane te poycnobe Bar Sen ieaarevison tee vary pone oor thaw cate an TOTo eral: hegre complien! we fay to tose wr rage nvertal carey ff tum sorry thntes) when we ss ye J 20 many hinge experience what tShacpening 2 Sects we sue sorming we never rend tr pony reve ren oad for before: we boars owe trough Sef cn pert ofan ey rice ang know, we meth fr evoking cans trou exten 2 ‘Sration Both te nord and he prc of sig hae come To hve {Roch bicder mptontons Toss hor come to me inserting. ‘Theman rom bu who's own something pesurably 53 doo unersurding tan smears wo BX ab Here the implication re most important fo visu literacy. To ex pnd ou sity tose means to expand ou abiy to undstand a ut messoge ard, even mare era to mekea visual mesane. Vi ‘Son invales more than just sing or Being shown. tis an ny parol the cornmerveaton roa wich ancorpases al conser for of in ort alia, subject exprassion respane (func VISUAL KNOWLEDGE AND VERBAL LANGUAGE Viuatiigi he abity to form montal pictures We emembara way through ety srt ta destinton ranewerngnour mind ovr Toute romne lace to nother checking visu ies, eeting, ou Tin back, and Goal ths before we oroosed withthe ourey. Al imour minds But even mare myers and mapa, we orm the Sight of srethina we never sn before. Vion, prevavaliznon is inuicately Inked othe cet ap, te Eureia syndrome, 23 pr mary means of problem sing An its thi ery proms of moving ‘round in mental imapsin iagineton that frequently takes U0 the point of breaktvoushondslution Koester agin, In The Act tf Creton sei ths way” Thinking in concept met at Thinking i images hvouph the ow development ofthe owes ot stsracton and symbotztion jst ste phone sp emerged by simiar posses out of pictorial symbols and Nreaiyanic A ext eon in communication cat be kemed rom ths ro eson ‘he evolution of language stated with pictures, gromesed to pce «raphe, sitexpbiningesrtoons, to phone nits, ad tanto th a Bhabet, which FL. Grgory in The Intligent Eye ro aptly cle “the mathomatic of meaning "Each stop Of hea) ao dou, 3 brogresiontonard mere ecient commantation. ut ate fay diction hat here eracig ofthis ronal a BEE Papa EPO ETT EY. The most Important quoton i rertey SUAS eons Went of suns ana estanes an be avn rom nue a opi Larguoge hes hd niaueploein human earnig, 1 has fre tioned asa mens of toring and vanspertng iormation a vehicle for exctanging es, and a way forthe human mind 1 concept aia. Lagos the Grebe word fer langage, ls cris cfiatera Imasning of haat and eas inthe Enlch word seed om it logic. The imetestion are quite obvious langage son 39 meas for s higher form of ranking than the va! ane tacile modes. But theasumption is subject to sme auestion and rvestigaion. Tob fin th logue and verbal iteracy are ot the sme thing, Bag ble to pm a lguage vostyaifetnt rom acne Ieracy, through reading ard writing, ean Bough vec earn to udestnd| and use langage at both operaive lve But oly spoken lomuage ‘rote naturally. Noam Chomsey's workin ngs notes at the deep struct of language bilagally innate, Verbal iterory ‘acirg and writing, must, however, erred ough naroar Of stops. Fis, e lana symbol system, abstract shapes that epresmnt “sgnsted sounds These symbols are our ABC. the sp nd staat the Crook nguage from winch we have ramed th whos proup ot Stundsymbolser ltrs, th alghatet. We lain ow ebshabe! ond ‘oll eters and then we fs the combina ons ot tes and her ‘Shunds which we ell wos, the stand-ins or surrogates for thing and idate and action Knowing te meoning of words knourng the com tron dointion hey sare The final top in wehievng verbal itesacy inwotes learning the common syntax to esas int 0! canara tion according to accopted usa. These ae tha rudiments, th edu ‘cbly bate cements of argiage When they ae mactre, pos Beto rod and write to expres and understand writen information ‘his sa mos cursory desorption. Buti isappsrent that oven ie ros simplifies state verbal era represents a stucture with teh ‘ial lant and anasi-on ditions, which By comparison, charac {erze visual communication ass! totally lack in rbanaaion, Sait oud appen VISUAL LITERACY “The major pital n developing an approach to visual itary istry ing to overdefine The exstnos of nginge @ ommunistion trode ot eompatvely neatly organized stare, SOUbL exes Sirona gresure onal those tho pursue the very Vea oF ws iter sty It oon mane of eammmication seas) to bres down int ‘component parteane structure, wh notte ether? Any yl oy tem isan invention of man. Tho symbol sysoms we ca anguage ae Inventions or etinerent what wax ane re object peronpions In pirtuestrip mensalty Hencathee ate may symbel systems Sind many langues, some elites by their darvstars trom ee Serraoot, some totally unvete, Numbers, frist, oe suo ‘ees fra unique inormation retrieval system, as ao oe tes Imusic In each ese the eat of earning the encoded intrmation 1 Sed an the engin synthe ofthe yet, The masninge area feched and warhsystom bos syncs ground rule. There are moe ‘hon 3.000 languages, separate art uous, n current usage inthe ‘world, each diferent. Th language o! vison, by comeanison, 9 ‘ch move unr! hat ste comply should not be Fearded as {oo dltfelt to beworthals ovreomng. Languages are toi! tole, But ao such spicy can be acibed fo waa nteligenoe, Sind toe of ue wha have labore a weke I anelcoeus 1 srgoge Frve sn engaged in an execs uty \§, J ‘Bt tn ue ot the word “Irraey” in conjunction with te woud “aun” doe have enormous sonifeane, Sight fs natura, making and undestanaing wal memanee natural to port, bt eactho- fess om ether vel can only be achieved through stad In pursuit of Vol tracy, one gral must oe Ceay tented anid avai, In verbal Mercy, long before wore Sacha "reae" are appied as {val judgment ts expected of edcatadpaople that thay bo cape tbat reading and writing, Tho writing dows not nesnaly tse 0 betrillant; ear, urderstondable prose, corecty apeled ad yatac: aly sound, wl do. Verka iteracy can be achieves 3 quia pie In of raking a undestanding writen resent cat be Shoractarzai es tool. Being abe to fd and wia, by the voryne- ture of ts function, doesnot demand by aypketion the noes for higher exeresion the producti of naval or poetry We aoeot the ides of verbal Iteracy es opaative at many lees, trom simp mes ‘oes to nereningly comin and artinie forms, ary because ofthe separation athe vil of at ad eat, and partly beonuse ofthe limitation inthe ten fr drawina, mach of ‘Yul communtation Nas ben let ta intution snd hapeensane®. ‘Since no attempt to analyze or define it hasbeen made forms of the svucture ofthe visuel mode, no method of sppitation can be tained Ingeea, te euctiona! system moving wih mona! the Soumes inthis area, til persisting nan emphass on the vr trode to the exciton a tho rest te hun sono um ond with Fite sensituity,ttany, (othe overwhelmingly vaual career Of the Iul’s earring experince. Even the use of visual aporoach toa ing through the mda is without igor and purpose. I may it foro, students re bomber ded wth val idm oop fs, $ldes, side sured presertaione-ut the preston rinorce that parive experience as consumers of tebison, Nasa raters beng ‘rods aed sd for eduetonol purrere are present with a tera or avlating nd understanding the afc thoy produce, ‘The consumer of mont! the educationa| media production would not, ta make the varbal racy analogy, recognize or Kron What Wes 8 misspting, an inecrectly prasad once, abel organizes theme These 39 often tus in the "hance cr” maha experience ‘Thaonty guidelines forte use of cameras in making intel pnt rs sages ara craw tom trary traolsons rather than tom the st {re and inte of te visual mode fOr of te raga of the overe/aiming potential of visual Ieracy al eel of edcation 's tha mnalsr, cused paytime funtion the visi art sre the curcslom and the smlar sate tha exist inthe eof mac,

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