Twyman, Michael - A Schema for the Study of Graphic Language

(1)

A Sc

A Schema

hema for th

for the Stu

e Study

dy

Graphic

Graphic Lan

Langua

guage

ge Tutoria

Tutorial l Paper)

Paper)

Michael Twyman

This paper presents

This paper presents schema

schema

th tth t

ttempts

embrace all

graphic

graphic la

lang

ngu.

u.ag

age.

e. The

The ess

essenc

enc

the schema is shown in

matrix which presents

matrix which presents number

number

theoretical possibilities

in

termsterms

approaches

toto

graphic

graphic language.

language. One

One axi

axi

the

matrix describes the methods

configuration

graphic

languag

language

e using

using such

such

termsterms

as

as pure

pure linear

linear linear

linear inte

interru

rrupted

pted

list

list line

linear

ar bran

branchin

ching

g matri

matrix

x non-linear

non-linear directe

directed

d non-linear

non-linear

open.

open. The

The oth

other

er axis

axis describes

describes the modes

the modes

symbolization

graphic

graphic langua

language

ge using

using four

four som

somewh

ewhat crude

at crude categor

categories:

ies:

verbal

verbal/numeri

/numerical

cal pictorial

pictorial and

and verbal/n

verbal/numerical

umerical pictorial

pictorial

sch

schema

ematic

tic. . Nu

Nume

mero

rous

us exampl

examples

es are

are sho

shown

wn

clarify

termsterms

and the underlying concepts

theythey

describe.

is emphasized

th t

the matrix is device fo

the matrix is

device for directing

r directing thinki

thinking

ng rather

rather

than

than means

means

defining graphic language.

The paper is written from

thethe

standpoint

practising

grap

graphic

hic desig

designer.

ner. The matr

The matrix

ix is

is used

used

illustrate the wide

range

approaches open

toto

us in graphic language and the

effect

this is assumed

toto

have on rea

have on reading/view

ding/viewing strat

ing strategie

egie

and cognitive processes.

is suggested that

thethe

matrix is

usefuL

focusing attention on two fundamental questions

th t

ought always

toto

be

asked when deciding how

asked when deciding how graphic

graphic

message should

message should be

be

communicated: What should

communicated: What should be

be

the mode

symbolization and what should

symbolization and what should be

be

the method

configu

rat

ration?

ion? Legibility an

Legibility and

d relate

d research

research is

is brie

briefly

fly revie

reviewed

wed

in order

toto

establish what light

throws on these questions;

with

with few

few notabl

notable exceptions

e exceptions

is found wanting.

is sug

gested

that there is need for more research that crosses

that there is

need for more research that crosses

the boundaries

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Michael Twyman Michael Twyman

This

paperpaper

is

notnot thethe culminationculmination

of a

sustained programmesustained programme researchresearch

and

brings no firm

evidenceevidence bearbear

on any

aspectaspect

of

graphicgraphic

language.

ItIt

is

thethe

contributi

contribution on ofof graphicgraphic

designer who has had

thethe opportunity of associatingopportunity of associating

with

with researchresearch workersworkers concernedconcerned withwith thethe evaluation of graphic language,evaluation of graphic language, and

and

is

writtenwritten

as a

tutorialtutorial paperpaper stimulatestimulate thoughtthought

and discussion.

is

anan attemptattempt definedefine thethe

scope of

graphicgraphic

language and

toto

show

relationrelation

ships

between differentbetween different approachesapproaches thatthat

have

been,been,

and

cancan

be, used.

Throughout

thethe paper,paper, thethe totalitytotality graphicgraphic

language

andand itsits specificallyspecifically graphic

graphic variablesvariables areare emphasized.emphasized.

Though

thethe approachapproach maymay appearappear bebe

somewhat

somewhat theoretical,theoretical,

is

intendedintended thatthat

should have

practicalpractical implications.implications.

For

thethe

purpose

of this paperof this paper graphicgraphic

designer

meansmeans

someone who plans

graphic

language; graphic

meansmeans

drawn or

otherwise madeotherwise made

visible in

resres

ponse

toto

conscious

conscious decisions,

decisions, and

and language

language

meansmeans vehiclevehicle ofof communicommuni

cation.

The

graphicgraphic

designer is usually

seenseen

as someone who

operatesoperates betweenbetween those

those with messageswith messages to transmitto transmit

and

thosethose

whom

theythey

have

toto be combe com

municated;

in this

respectrespect

he is

thethe graphicgraphic equivalent ofequivalent of thethe

radio

producer.producer.

The

graphicgraphic

designer

may notmay not

always

bebe

a professional however and,

whetherwhether

lay

lay oror

professional, he

maymay

on occasions be

thethe originator oforiginator of thethe message.message.

It

should be

stressedstressed thereforetherefore the termthe term graphicgraphic

designer' is used

herehere refer

refer

anyone who plans

graphicgraphic

language.

While all

us use

graphicgraphic

language as

originatorsoriginators

and

consumers, veryconsumers, very few

few

us

are awareare aware

how

should be

shou

ld be planned

planned so

so

thatthat can be mostcan be most effeceffec

tive.

this

respect,respect, asas

in many

others,others, graphic languagegraphic language differsdiffers

from

oraloral

language, which is

eithereither notnot

consciously planned

all -

asas

in

mostmost converconver sational situations

sational situations

or i

or is pla

s planned

nned

thosethose

who

engageengage

in public speaking

with

with reasonablereasonable understandingunderstanding of what theyof what they areare

doing. Our

experienceexperience

planning

graphic languagegraphic language

un

unle

less

ss

havehave specialspecial

problems,

suchsuch

as

thosethose presented

presented

by

thethe preparation ofpreparation of tabletable

for a

scientificscientific paperpaper

or a

hand-madehand-made

notice

for a jumble

salesale

pr

prob

obab

ab

endedended

school when we

learnedlearned

how

organize

organize letter,letter, addressaddress anan

envelope,

oror setset outout

a sum in

mathematics.mathematics.

Most of

thosethose

who use

graphic meansgraphic means communicationcommunication

professionally in

everyday situations

involving continuous prose

merelymerely

pass on

theirtheir

problems

their typist

who does

thethe

planning for

them.them. moremore

complex

areasareas

of

graphic

graphic communicationcommunication particularlyparticularly

when

thethe messagemessage

is non-linear,

thethe

originator

has less

controlcontrol overover thethe graphicgraphic presentation ofpresentation of

his

messagemessage

and

frequently relies

on a

specialistspecialist draughtsman,draughtsman, cartographer,cartographer, typographer.typographer.

This is a

situationsituation thatthat

has few

parallelsparallels

in

oraloral

language.

utline

bjectives

The principal

objectiveobjective

this

paperpaper

is

demonstratedemonstrate

by

meansmeans schemaschema

the

wide

range of approachesrange of approaches

open

us in

graphicgraphic

languag

language.

e. The

The proposed

proposed

schema,

which is

presentedpresented

in

thethe

form

ofof matrix,matrix,

draws

attention to theattention to the

different

modes

and configurationsand configurations

of

graphicgraphic

language and is firmly

rootedrooted

in

practicalpractical applications.applications. ItIt

is

relevantrelevant

consider a

schemaschema

of

thisthis

kind

ug

not necessarilynot necessarily thethe

one proposed -

forfor both.practicalboth.practical andand theoreticaltheoretical

reasons.

reasons. practical termspractical terms

is

importantimportant becausebecause schemaschema

which

presentspresents

graphic

language

asas

a whole has

thethe

value

drawing

attention to theattention to the varietyvariety

approaches

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Schema

Schema Graphic LanguageGraphic Language 119119

predispose us

towardstowards particularparticular approachesapproaches graphic communication.graphic communication.

In

moremore theoreticaltheoretical termsterms thethe overalloverall patternpattern presentedpresented

by

thethe schemaschema enables

enables

us

to seeto see

points

ofof connection betweenconnection between different areasdifferent areas ofof graphicgraphic

language

areare

normally

seenseen

as

discretediscrete

and

our

traditionaltraditional attitudesattitudes

and terminology

and terminology encourageencourage

us

keepkeep separate.separate.

The

secondary objectivessecondary objectives

of this

paperpaper stemstem directlydirectly

from

the first.the first.

The

matrix

will be used

asas meansmeans

identifying, in a very

generalgeneral

way,

thosethose approaches

approaches graphic languagegraphic language thatthat areare mostmost

commonly

adopted.adopted.

will

also be used

consider

thethe extentextent toto

which

legibility andlegibility and related researchrelated research

has responded

the realthe real

needs

of thoseof those

making decisions

about graphicabout graphic language.

language.

The

schemaschema

does

notnot pretendpretend bebe watertightwatertight

and

somesome

of

thethe

boundaries

between

between thethe cells ofcells of thethe matrixmatrix areare

drawn

subjectively.subjectively.

The

fact thatfact that somesome

kinds

do

notnot fit perfectlyfit perfectly

within

the matrixthe matrix servesserves

only

highlight

thethe subtletysubtlety and flexibilityand flexibility

of

graphic language.graphic language.

This should

notnot invalidate

invalidate thethe schemaschema itselfitself

which is

intendedintended

as a

devicedevice

for

directingdirecting

our

thinking

andand not asnot as

an

endend

in

itself.itself.

ragmentation

the

the tudy

tudy

Graphic Language

Over

the lastthe last

few

yearsyears havehave attemptedattempted

develop

approachesapproaches thethe descrip- descrip-tion

tion graphic language.graphic language.

In

this

respectrespect

I have

takentaken leaf outleaf out thethe

book

linguistic

scientistsscientists

many

whom

believebelieve thatthat descriptiondescription

is a

necessarynecessary prelude

prelude toto

understanding.

CertainCertain aspectsaspects

of

have,

course been

course been extremelyextremely

well

coveredcovered

from a

descriptivedescriptive standpoint.standpoint.

The

characters

of

thethe Latin alphabetLatin alphabet

for

instanceinstance

have

beenbeen

minutely studied:

there

numerous

classification systemsclassification systems

designed

accommodateaccommodate

thousands

different

different stylesstyles

of

letterletter

forms most

which

areare notnot eveneven noticednoticed

by

the

layman),

andand preciseprecise

language has

beenbeen

developed

describedescribe thethe

various

partsparts ofof lettersletters andand theirtheir related related characters.characters.

All

thisthis cancan perhapsperhaps be

be comparedcompared withwith phoneticsphonetics

as a

branchbranch

linguistics.

ThereThere

is also a

vastvast

literature

which focuses on

thethe

iconography

ofof thatthat partpart ofof graphic languagegraphic language

we

callcall artart andand tracestraces subtlesubtle stylisticstylistic influencesinfluences

of

oneone artistartist

or school on

another.

This

activityactivity mightmight

be

seenseen leastleast

in

some respectssome respects

as akin

literary

literary criticism.criticism.

These

twotwo aspectsaspects

of

graphicgraphic

language have

beenbeen

chosen

toto

highlight

thethe

diversity

of

thethe fieldfield

and

ofof thethe activitiesactivities of thoseof those

who work within

it.it.

Those

who

studystudy letterletter formsforms

in

thethe manner describedmanner described

above

areare

likely

be

prac-

prac-tising

tising typographerstypographers historianshistorians ofof

printing;

thosethose

who

studystudy thethe

iconography

paintings

areare

likely

be

art

historians. Though

relatedrelated

one

anotheranother

in

thatthat bothboth areare concernedconcerned withwith

forms

of graphic languageof graphic language thethe twotwo

disci-

disci-plines hardly

plines hardly

interact.interact.

To a

largelarge degreedegree the samethe same mustmust

be

said ofsaid of otherother

fields of scholarship

concernedconcerned withwith graphicgraphic

language within a

theoreticaltheoretical

framework

framework suchsuch asas

semiology, psychology, topology, anthropology,

palaeo-

palaeo-graphy, linguistic

graphy, linguistic

sciencescience andand cartography.cartography.

The

atrixatrix

The proposed

schemaschema

is

basedbased

on

thethe matrixmatrix

Figure

which

presentspresents number

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Schema

Schemaofof Graphic LanguageGraphic Language 121121

which

influences andinfluences and perhapsperhaps determinesdetermines thethe searching,searching,

reading,

andand

looking

strategiesstrategies adoptedadopted

by

thethe

user.

ThereThere

is no

acceptedaccepted terminologyterminology

in this field,

apartapart

from

thethe

headings

list, linearlist, linear

branching,

andand matrix,matrix,

which

wiU

be

readily understood.readily understood.

The division

betweenbetween thethe

two headings

the

the extremeextreme rightright

of

thethe matrix,matrix,

non-linear

directeddirected

viewing

andand

non

linear

linear mostmost

options open

(shortened henceforth(shortened henceforth non-linearnon-linear directeddirected andand

non-linear open ) is highly

subjectivesubjective

and is

thereforetherefore indicatedindicated

by a

dotteddotted

line.

line. In

In

realityreality thethe twotwo categories,categories,

which

areare

shown as

discrete itemsdiscrete items

in

thethe matrix,

matrix,

form a

continuum.continuum. ThereThere areare elementselements

of

linearlinear

reading in

somesome

the

nonlinear

directeddirected categories,categories, butbut thethe

heading

servesserves emphasizeemphasize

that

that thethe

principal

searchingsearching strategystrategy

is

is non-line

non-linear.

ar. The

The

mostmost importantimportant

general

general characteristiccharacteristic presentedpresented

by

thethe

column headings is

thatthat theythey

show

transition

transition from purefrom pure linearitylinearity

on

thethe leftleft extremeextreme non-linearitynon-linearity

on

thethe

right. right.

Column headings

have beenhave been limited tolimited to majormajor categoriescategories sincesince thethe

main

aim

aim this paperthis paper

is

to concentrate attentionto concentrate attention

on a few

centralcentral

issues.

would

not

have

beenbeen difficultdifficult

subdivide

somesome thesethese

major

categories. Forcategories. For

instance,

instance, thethe

heading

calledcalled linearlinear interruptedinterrupted

could be

furtherfurther

divided

according

according whetherwhether

all

readingreading

was in

thethe same directionsame direction

(i.e.,

leftleft toto right,right,

or

rightright left),left),

or

whetherwhether

was

be done boustrophedon (as

thethe

ox

ploughs). Within

eacheach ofof these categories thethese categories the interruptioninterruption

of

thethe linearlinear

flow

may

be

mademade

on

thethe

foHowing grounds:

1)

semanticallysemantically

(with

thethe

lines broken only

afterafter linguisticlinguistic

units,

thethe

smallest

smallest suchsuch unitunit

being

thethe

word)

quasi-semantically

(with

thethe

lines broken only

betweenbetween

words or within

words

accordingaccording

etymology)

3)

partially semanticallypartially semantically

(with

thethe

lines broken

betweenbetween

words or within

words

eithereither phoneticallyphonetically

or

arbitrarily)arbitrarily)

lj.lj. mechanicallymechanically

(with words broken

thethe most convenientmost convenient

point,

regardlessregardless

meaning).

Even within

thesethese

four

categoriescategories there are differentthere are different

ways in which

thesethese

line endings

maymay

be

achieved,achieved,

and

mostmost

of

thesethese cancan

be found in

everydayeveryday

use.

is

clear,clear,

however,

that littlethat little

is

toto

be ga

be gained by producing a

ined by producing a

matrixmatrix

such

such complexitycomplexity thatthat

would be understood only

would be understood only by

by

itsits originatororiginator

or

thosethose

prepared

spend an

inordinate amount ofinordinate amount of timetime

studying

it.it.

The row headings

describedescribe thethe

modes

symboliz

symb

olizati

ation.

on. This

This is

is

fairlyfairly

crude

breakdown

ofof

modes,

especiallyespecially

in

relationrelation those sectionsthose sections thatthat relaterelate

pictorial

pictorial language.language.

The

subjectsubject

is one

thatthat

has

attractedattracted considerableconsiderable

attention

attention from semiologistsfrom semiologists overover the lastthe last

few

decaddecades, es, particularlyparticularly

in

relationrelation

iconic

iconic andand

symbolic

images, butimages, but

such issues

areare notnot centralcentral thethe themetheme

this

paper,paper,

which is

more concernedmore concerned

with

the relationthe relation betweenbetween

mode of

symbolization and

symbolization and methodmethod

of

configuration.configuration.

should be

saidsaid thatthat

is

moremore

difficult

difficult establishestablish distinction between distinction between pictorialpictorial andand schematicschematic

modes

than between

than between thethe other categoriesother categories

on this axis; for this

reasonreason thethe

division

between

between themthem

is

indicatedindicated

by a

dotteddotted line.line.

A number

ofof

additional

additional headings

headings

could also

have beenhave been introducedintroduced

on

thethe

axis

thethe matrix.matrix. numericalnumerical

mode

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122

122 Michael TwymanMichael Twyman

the

the matrixmatrix

would

havehave blurred anblurred an importantimportant

issue -

thethe conflictconflict

in

reading/reading/

viewing

strategiesstrategies thatthat arisesarises

from

thethe linearity oflinearity of thethe verbCl 1verbCl 1

mode and

thethe

non-linearity

non-linearity ofof bothboth thethe pictorialpictorial andand schematicschematic

modes.

other respects

other respects tootoo

emphasis has

been placedbeen placed

on

easeease

understanding.

Most obviously

thethe matrixmatrix

as

presentedpresented takestakes

no

accountaccount

of

sequencessequences

in

time

as

seenseen

in film

andand

television; nor

eveneven

of

thethe interruptedinterrupted sequencessequences

in

time presentedtime presented

by pages of a book

oror setssets

slides. Such

approachesapproaches

could

have been

have been accommodatedaccommodated

by adding a

thirdthird

dimension

to theto the matrixmatrix butbut

the

the expenseexpense

of

clarity.clarity.

Similarly, a number of

thethe graphic variablesgraphic variables isolatedisolated

by

BertinBertin

I967) -

suchsuch as sizeas size tonetone texturetexture

colour,

andand

shape

areare not specinot speci

fically

cateredcatered for.for.

These

cancan

and should,

bebe consideredconsidered

in

relationrelation

all

the

cOfTlbinations

modes of symbolization

and methodsand methods of configurationof configuration

presented

in

the matrix.the matrix. he

he ellsells thethe MatrixMatrix

The

cellscells thethe matrixmatrix

have

been numberedbeen numbered

for

easeease referencereference eveneven

though this

approachapproach reinforcesreinforces

one

particularparticular readingreading strategystrategy thethe expenseexpense of

of others.others.

These numbers

have beenhave been

included in

parenthesesparentheses

in

thethe texttext

of

this

paper wherepaper where relevant.relevant.

The

examples chosenexamples chosen

fill

thethe cellscells ofof the matrixthe matrix areare

mainly

from thisfrom this

century

century and fromand from thosethose partsparts thethe

world using

thethe romanroman alphabet.alphabet.

How

ever

ever thethe matrixmatrix

has

validityvalidity

in

relationrelation otherother linguistic conventionslinguistic conventions

and

other

periods of

timetime and culturallyand culturally

and

historically basedhistorically based approachesapproaches

would probably

proveprove fruitful.fruitful. It

It

is

important toimportant to emphasizeemphasize that eachthat each cellcell the matrix offersthe matrix offers relarela

tively

wide

range of graphicrange of graphic

possibilities. The

mostmost effectiveeffective

way of

prepre

senting

senting thethe essentialessential characteristicscharacteristics ofof eacheach cellcell

would be

sho

show numero

w numerous

us

examples

examples but but clearlyclearly printed paperprinted paper

does

not lendnot lend itself toitself to thisthis approach.approach.

There

is

thethe dangerdanger

in showing a single

exampleexample

or

eveneven limitedlimited

number

of examples

of examples thatthat this mightthis might leadlead thethe formulation offormulation of narrownarrow setset definidefini

tions

for

thethe cells.cells. ItIt

should be

saidsaid thereforetherefore thatthat thethe primeprime reasonreason

for

presenting

presenting thethe matrixmatrix

is

neitherneither definedefine

nor

confine graphic language.confine graphic language.

The

examples

shown

herehere

should be

considered withconsidered with thesethese commentscomments

in mind;

they

they areare presentedpresented

in

listlist

form in

thethe numberednumbered sequence ofsequence of thethe cellscells ofof thethe matrix together

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Schema

Schema ofof Graphic LanguageGraphic Language ₁₂₃₁₂₃

ell

1.

TheseThese examplesexamples comecome closeclose pure linearitypure linearity asas limitedlimited two-

two-format

format OnOn thethe leftleft thethe PhaistosPhaistos

and

and thethe rightright recentrecent handwrittenhandwritten examples readexamples read

from

from thethe outsideoutside thethe centre.centre.

llIopIoM.w-... _

- ~ ~ ~ . : : . ' : . - ~ ~ ~ . : : . ' : . -- -- ..-.-. ..-.-. ..-.-. ..-.-. ..-.-. ..-.-. ..-.-. ..-.-. ..-.-. ..-.-. ..-.-. ..-.-. ..-.-. . . . _ _ . . . .. . . . , . . . . ~ l , , . . . . ~ l , ...

c .._

. - . . : : . : . : ~ . ' . - . . : : . : . : ~ . ' . s ~ . ~ . s ~ . ~ ... ... ~ - . - - . . . . , . . . - , . . ~ - . - - . . . . , . . . - , . . -.-.., -.-.., ,.._,.._...r-- r--' r--' r--' ~ _ . I J I W I i r--' . ' ' ' ~ _ . I J I W I i ' ._..._... ell

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Cancel Anytime. 124 124 ,...; ,...;. . . .. . . .

. .

... ____ .. .. ... ._._

__

... :..::.=::.:.:.. : ....::: == :..::.=::.:.:.. : ....::: ===.=. ... ... _{_.}_{_.} .... _ _ ... ... .... ....____... _ _

...

_-

_-__

__

Michael Twyman Michael Twyman

CeU 3.

ListsLists differdiffer fromfrom aboveabove

in

thatthat thethe it msit ms presentedpresented

on

eacheach

line

form

discrete semanticdiscrete semantic

units. On

thethe leftleft the orderthe order the coronation prothe coronation pro cession

cession ofof GeorgeGeorge IV,IV,

1821. On

thethe rightright restaurantrestaurant

guide in which

entries

entries areare distinguished from onedistinguished from one anotheranother

by occupying

separateseparate

lines though

each

each entryentry consists of twoconsists of two partsparts

which

areare

distinguished

from onefrom one anotheranother

typographicaUy.

_-... ... ~ 9 = 8 : . ~ 9 = 8 : . ~ . ~ ~ . ~ ... ... .. :::"' .. :::"'...

. .:::

,- ,=,,- ,=, ~ . . ' : : ; : . . 1 = - ; - : = ~ . . ' : : ; : . . 1 = - ; - : =

_.

Ii'Ii'

a_

.... .... i i

'r'r

.-.-

--l I o - ~ l I o - ~

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Schema

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Cell

5. Both

these matricesthese matrices

would be

describeddescribed

as

tables:tables: thethe football leaguefootball league

table

table (left)(left)

is

primarilyprimarily numerical,numerical, thethe pagepage fromfrom

a company

reportreport

(right)

is

primarily verbal.primarily verbal.

Cell

6. 6. The

The boundary

boundary

betweenbetween CellsCells

6 and 7 is

subjectivelysubjectively

drawn. Non

linear directed"

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(19)

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126

126 Michael TwymanMichael Twyman

Cell 7.

thethe

non-linear open

configuration,configuration,

verbal language usually breaks

down in

termsterms of preciseof precise

communication.

concrete pbetryconcrete pbetry

however

may

take

(20)

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(21)

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Schema

Cell

9. When

presentedpresented

in book form

thethe

Bayeux

TapestryTapestry (left)(left)

is usually

divided

intointo

units

ofof equal lengthequal length

as in

traditionaltraditional texttext setting.setting.

The

broad-

broad-sheet

sheet ofof thethe funeral procession offuneral procession of thethe

Duke

ofof

Wellington in 1852

(centre)(centre)

shows a division

of pictorialof pictorial and verbaland verbal informationinformation intointo

hunks

toto form fiveform five

column

columns.

s. A

A well

well

triedtried applicationapplication ofof thethe linear interruptedlinear interrupted configurationconfiguration

in

this modethis mode

is

the comicthe comic stripstrip

right),

wherewhere thethe interruptionsinterruptions thethe storystory

are

usually

mademade

on

thethe

basis

whatwhat

will

fitfit intointo thethe

line.

_ Ono

_ Ono omollomoll came .came . ondlondl odu

odu ,ho,.,ho,. . . EI.EI.

lS>

lS> c ~ t r i l v a nc ~ t r i l v a n chllQftchllQftp e tp e tnlghlnlghl oror pair of binocularspair of binoculars

rel'1l

rel'1l _FO_FO _Eon_Eon _k1(Hno_k1(Hno _{camera enl}_camera _enl

WlmmlOg see

WlmmlOg seel l S.S.andand <. )<. ) _of_of _cen_{cen errelctJker}_errelctJker GC

GC

or.., or..,

f t o ~

OneOne overcolltovercollt oror wrapwrap

u n d u n d ( 0 0 0

( 0 0 0 tunctunc _Een_Een _overJl1_{overJl1 01}₀₁ _mantol_mantol h&de

h&de kmkm

pan1v pan1v~ h a d e d~ h a d e d

One

One blonketblonket iii

iii m a m l v s t M d ~m a m l v s t M d ~ lClC

' ' ShOWOf coldShOWOf coldnnlv)nnlv) _fen_fen _deke.n_deke.n "1

"1 thowthow (hot(hotand cold)and cold)

JI.

JI. ShOPShOPheehee .).) _{Ono umbrella or walk·}_{Ono umbrella or walk·}

nlc nlc

(22)

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(23)

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128

128 MichaelMichael TwymanTwyman

an an

Cell

11 11. . This

This is

is an unusual

an unusual

example ofexample of multiplemultiple treetree presentedpresented

in

thethe comcom

bined

pictorialpictorial verbal/numericalverbal/numerical

mode.

o . w ~ i m ~ l t ~ o . w ~ i m ~ l t ~

6D

_...

----'I''I' . ..,. ..,

(24)

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(25)

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Schema

Schema Graphic LanguageGraphic Language

....

_ ~ - ~ - " ~ ~ ~

lit lit

.

-:.:r::.=.. :.:r::.=.. Cell

Cell

13.

thethe

exhibition

cataloguecatalogue

(left)

thethe

user s viewing is

directeddirected

in

129 129

a number of ways:

horizontallyhorizontally

along

thethe

row

ofof pictures; horizontallypictures; horizontally

from

one

column

ofof texttext another;another; andand verticallyvertically

so

thatthat eacheach picturepicture

is

readread

in conjunction

withwith thethe passagepassage text beneath it.text beneath it.

This

schemescheme organi-

organi-zation

zation

is a

rationalrational oneone thatthat

has some of

the characteristicsthe characteristics

of a

matrix,matrix, whereas

whereas thethe directeddirected

viewing

associatedassociated

with

advertisingadvertising centre)centre) andand

journalism (right)

journalism (right) is

is

moremore intuitiveintuitive

and open

a wider

rangerange

of

reading/reading/

viewing

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(27)

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130

130 ichaelichael TwymanTwyman

Cell

15. The

storystory

in

reliefrelief sculpturesculpture

spiralling up Trajan s Column of 112AD

in

RomeRome

(left),

andand panoramicpanoramic

views

of coastlinesof coastlines

and

riversrivers

(right)

areare

examples of

(28)

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(29)

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Schema

Schema Graphic LanguageGraphic Language ₁₃₁₁₃₁

Cell

17. Amongst

thethe simplestsimplest pictorialpictorial listslists areare arraysarrays

of symbols designed

facilitate

facilitate internationalinternational traveltravel left).left). moremore complicated examplecomplicated example

is

pro-

pro-vided by

vided by

thethe sequencesequence of picturesof pictures

right),

eacheach

which

representsrepresents separateseparate stage

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(31)

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132

132 MicMichael Twymanhael Twyman

Cell

19.

MatricesMatrices areare rarelyrarely presentedpresented

in

thethe pictorialpictorial

mode.

InIn thethe exampleexample

on

thethe leftleft thethe

viewer has

deducededuce thethe

headings from

the contentthe content thethe pictures

pictures

(Column headings: no medical man /

medicalmedical

man. Row

man.

Row headings:

headings:

swollen

stomachstomach afterafter

swollen

stomach).stomach).

The

exampleexample

on

thethe rightright

shows

the

(32)

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(33)

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Schema

Schema Graphic LanguageGraphic Language ₁₃₃₁₃₃

Cell

Cell 2121 ForFor thethe reasonsreasons

given in

relationrelation cellcell

20,

is

almostalmost

impossible

find an

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