How to analyse images

1. Analysis
protocol of
images

2. level 1:
Classification

3. LEVEL 1: Classification
Classification of the image according to its physical
characteristics:
Static Two-dimensional
Two-dimensional image in movement
Three-dimensional in movement
Etc.
Classification of the image according to the sender:
who is the sender?
who is the receiver?
Type of function of the image: Informative,
Commercial, Artistic image, Etc.

4. Nature
Reality
Systems of
reality
representation

5. Classification of the image according to its physical
characteristics:
Static two-dimensional image
Example: static image, paintings, carving,
photograph, drawings…

6. Two-dimensional image in movement
Those images that being in two dimensions simulate or
have movement:
Bus with advertising facilities
Television, Cinema, adverts

7. Static Three-dimensional
Those images that are in three dimensions but
static: Sculptures, Objects

8. Three-dimensional in movement
Those images that are in three dimensions and
have its own movement:
Performances

9. Identify the type of image in
the following ones

12. 1.2. Classification of the image according to the
sender:
1.2.1. who is the sender?
1.2.2. who is the receiver?
1.2.3. Type of function of the image:
•Informative.
•Exhortative.
•Expressive.
•Aesthetic.

14. LEVEL 2:
Objective
analysis
Preiconographic level

15. LEVEL 2: Objective Analysis
2.1. Preiconographic Analysis:
analysis of the denoting (significant) speech.
Description of the image as if we did not know
anything cultural, only to describe what we see.real o simbólico,
do visual de la
s.de.finalidades.o.funciones.de.las
A drawing of a white simplified
bird only with line with a twig
in the beak

16. Here we have to go describing the image
following some elements (that then we will
analyze more deeply in the level 3).
We describe, without gives any personal or
cultural opinion, what is presented in the image
and how.

17. Denotive Speech
Connotative
Speech
Objective and conscious
elements
Subjective and
unconcious elements
Fruit of sin
Level 2: Objective

18. LEVEL 3:
Subjective
analysis

19.
Elements that it is necessary
to comment
 Size
 Shape and format
 Colour
 Lighting
 Texture

20. Size is
important

21. DEFINITION
We call size to the physical dimensions of the visual
product or image
This is the first element that the sender must select for
the statement of his message
The size is chosen in relation by the scale of the
spectator (habitually a human being) and does that the
product is:
• bigger than the spectator
• smaller than the spectator

22. Selection criterion
1. Psychological Impact
2. Reputation (Notoriety)
3. Comfort of managing or of location

23. 1. Psychological Impact

24. Big size
The spectator is much
smaller than the visual
product
Establishes a relation of
domain by one object
When this domain
overwhelms the spectator.
We are before the
claustrophobia
.

27. Small size
The spectator is much bigger
than the visual product
It Establishes a intimist
relation with the object

28. The works of giant size create a great social impact that
turns the visual product, artistic or commercial, into an
event
2. Notoriety

29. FLOWERBYKENZO

33. 3. Comfort

34. 3. Comodidad de manejo o ubicuidad

37. SHAPE
AND
FORMAT

38.
Elements that it is necessary
to comment
 Size
 Shape and format
 Colour
 Lighting
 Texture

39. Format

40. ¿What is format?
We call format to the form and orientation of the
support of the visual
Ej. This photography is rectangular horizontally
The format can be:
• rectangular
• circular
• horizontal and vertical
• others

41. Format selection
Visual characteristics of the physical
limits of the visual representation
In the two-dimensional
representations the form of the
visual product like object is named
format

45. shape

46.  External appearance of a
thing in contraposition to the
matter of which it is
composed
 Set of lines and surfaces
that determine the contour
or limit of a visual product

48. Selection criterion
 Adaptation to the
support
 Sense of reading
lectura
 Simbolic Content

49. Adaptation to
the support

54. Sense of
reading

55. Horizontal formats
Vertical formats

57. Simbolic
Content

59. Clasificación por
diferencias
semánticas
 Organic shapes
 Man-made shapes

60. Conotative contens of the forms:
Organic or natural form
Man-made, Artificial
or geometric form

62. The rounded opposite to the angular shapes

63. The use of the
organic form in
the visual
contemporary
products

65. Magdalena Jetelová
Mixt ones