Graphics Reference
In-Depth Information
A model for visual imagery analysis
It is easy to appreciate art and design, and use personal subjectivity to nominate preferred
options in respect to specific elements and principles of design such as colour, texture, layout
and composition, and so on.
However, professional practice requires a more objective approach to analysis and evalu-
ation that moves beyond personal preference. This is imperative because personal preference
has the capacity to hijack art and design analysis, acting as a barrier to objective evaluation.
To avoid these pitfalls, a model of objective visual imagery analysis and evaluation is
presented below and this has been devised using existing models drawn from the fields of
art appreciation, design evaluation plus education and learning. As such, the model repres-
ents an amalgam of Bloom's taxonomy and a modified version of Feldman's model of art
evaluation.
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Feldman (1973) devised a model for art evaluation that focussed on the various functions of
art: personal, social and physical, and this serves as the inspiration for a Design Criticism
Model depicted as follows.
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Level I - Description
Physical dimensions such as size, media, etc; Type: Abstract, realistic, representational con-
tent and/or subject matter. Background information: artist/designer, historic references. At
this level, the overall arrangement of visual elements (such as colour, line, texture, motif,
symmetry, balance, use of repetition, etc) are described from an objective perspective.
Level II - Analysis
At this level, the ways in which visual elements and principles of composition have been
applied are analysed in relation to the overall composition. Materials and media are also ana-
lysed in relation to how these relate to the overall design.
Level III - Interpretation
At this level, signs, symbols and visual metaphors are identified and analysed in relation to
the likely communication objectives of the composition/design and its 'message'.
Level IV - Evaluation
The level involves presenting a judgement or opinion about the effectiveness of the compos-
ition/design which may or may not involve an in-depth rationale.
Similarly, Maranci (2005) provides an objective approach to evaluating and assessing art
that involves a number of perspectives which initially includes identifying visual cues such
as elements like colour, tone, line, texture and so on.
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Subsequently, content is assessed
