Objective
The intention of this project is to encourage you to explore the relationship between the word and the image and how when working in combination a wide range of communication ideas can be explored.
This project uses photography as its basis.
Part 1: Collecting Images
Working in groups of three you should produce or collect a number of images that address the following:
• Three images of yourself or yourselves as a group.
• Three images of objects that relate to you.
• Three images of the environment that you live in and that relates to you.
All images should be printed out at A4 size in full colour. Try to create images that are photographed in an objective or neutral documentary style.
These images form the foundations for Part 2.
Part 2: Building a Lexicon
You should now build a set of individual words that relate to yourself and the environment that you live in.
These words should not be captions to the images you have created but should be words that have potential multiple meanings for the reader – they might relate to the meaning or context of the images but should not describe the images specifi cally. Try to build a lexicon of words without referring directly to the work done in Part 1 of the brief – it may be useful to select a theme to base this spoken or textual language upon.
Part 3: Word/Image Relationships
Begin to place the words and images together. Try to look at a wide range of variations and possibilities. The intention here is to fi nd word/image relationships that
Key Texts
Barthes, R. (2009) Mythologies.
London: Vintage Classics.
Baxandall, M. (1987) Patterns of Intention: On the Historical Explanation of Pictures. New Haven, CT: Yale University Press.
Buchanan, R. & Margolin, V. (1995) Discovering Design: Explorations in Design Studies. Chicago: University of Chicago Press.
Crow, D. (2010) Visible Signs: An Introduction to Semiotics in the Visual Arts, 2nd edition. Worthing:
AVA Publishing SA.
Emmison, M. & Smith, P. (2000) Researching the Visual: Introducing Qualitative Methods. London: SAGE Publications.
Hawkes, T. (1977) Structuralism and Semiotics. London: Methuen.
Norman, D. A. (2002) The Design of Everyday Things. New York: Basic Books.
Pevsner, N. (1946) Visual Pleasures From Everyday Things: An Attempt to Establish Criteria By Which the Aesthetic Qualities of Design Can Be Judged. London: B. T. Batsford.
Poynor, R. (2003) No More Rules:
Graphic Design and Postmodernism.
London: Laurence King Publishing.
Rose, G. (2007) Visual
Methodologies: An Introduction to the Interpretation of Visual Material.
London: SAGE Publications.
5. Audience and Message
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have possible multiple readings – words that unlock meaning in the images – not words that ‘close down’
the number of possible readings that each combination may produce.
Part 4: Word/Image Combinations
Once you have decided upon the most effective word/image combinations, consider how to place the type within or on the image so that both can be read without disturbing the effect of each other. Try to consider a typeface that is not too decorative and avoid fonts that may distract from the image. This font should be employed for each word on each of the images. You should try to fi nd a common format and scale for each of the images so that a degree of consistency exists between them and that they can be read as part of a larger set or family.
Part 5: Arrangement
Once this is completed begin to arrange the image/
word combinations in sequences that create possible narratives. Try to consider the multiple reading of each individual word/image combination as well as the overall readings the combined narrative may create.
This process asks you to consider how as a designer you can use image and word/type to create open and multiple readings for an audience. This should be undertaken with the widest possible audience in mind for the work. You should try to consider the scope of potential readings dependent on key factors such as background, age, education and culture. Each and all of these elements are essential considerations for the designer and should be a central part of your approach when thinking about how messages are communicated and, importantly, understood.
image word
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Title: Visual Research-An Introduction to Research Methodologies in Graphic Design 2nd Edn
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