Evaluating Messages Part 1

EVALUATING
MESSAGES
QUALITIES OF A CRITICAL READER
• annotates the text by writing or using sticky notes.

• determines and analyzes the organizational pattern (compare-contrast, cause-
effect, description, narration, definition, or persuasion) of the text.
• asks critical questions that promote analysis, synthesis, and evaluation of text.
• considers the cultural and historical background of the text or image.
• distinguishes facts from opinions
• evaluates the author’s credibility by checking on his/her credentials or
academic and scholarly background.
• evaluates the source of the text and image.
• looks beyond the text or ideas that are not explicitly stated.
• makes inferences about the text or images and the author’s ideas, biases, claims,
agenda, or views.
• assesses the usefulness and relevance of the text by previewing or reading the titles,
table of contents, summaries and abstracts, introductions, conclusions, headings,
and subheadings.
• reads with specific question in mind that he/she wants the text or image top answer.
• reads with an open mind.
LESSONS:
• A Picture Paints a Thousand Words
• The Power of Nonverbal Cues
• Peeking through Promotions

MULTIMODALITY
Multimodality involves the complex interweaving

of word, image, gesture and movement, and sound,
including speech. These can be combined in
different ways and presented through a range of
media.
Bearne, E. And Wolstencroft, H. 2007

MULTIMODALITY
Multimodality is a theory which looks at the many different

modes that people use to communicate with each other and to
express themselves. This theory is relevant as an increase in
technology tools, and associated access to multimedia composing
software, has led to people being able to easily use many modes in
art, writing, music, and dance and every-day interactions with each
other
Kress, G.1997
MULTIMODALITY
Mode – signs: sound, graphic material, print

Media – the manner of dissemination
A traffic sign as the medium

of communication and the red
border and the image inside
it as the mode.
Kress, G.1997
MEDIUM OF COMMUNICATION
• The computer: internet information and software
presentations
• Paper-based texts: picture books, magazines, novels,

information books
• Sound and visual media: radio, television, videos, CDs and

DVDs
MODES OF COMMUNICATION
• Writing or print, including typographical elements of font
type, size and shape
• Images: moving and still, diagrammatic or

representational
• Sound: spoken words and music
• Gesture and movement

KEY TEXTS TODAY
Story books Songs
Picture books Paintings/ drawings
Non-fiction books Texting
Pop-up and lift the flap Animated films
books (non linear)
Live acted films
Web pages and web logs
Computer games
Blogs
Advertisements Console games
Newspapers Game manuals
Magazines Logos
Comics Card collections
Poetry
VISUAL GRAMMAR
Grammar goes beyond formal rules of correctness.

It is means of representing patterns of experience… It
enables human being to build a mental picture of
reality, to make sense of their experience of what
goes on around them and inside them.
(Halliday, 1985)
VISUAL GRAMMAR
The same is true for the ‘grammar of visual design’. Like

linguistic structures, visual structures point to point to
particular interpretations of experience and forms of social
interaction. Meanings belong to culture. Visual language is not
transparent and universally understood; it is culturally specific.
Kress and Van Leeuwen, 2006

THE GRAMMAR OF VISUAL
Developing a metalanguage to help students

discuss the meaning-making resources involved in
images.
ELEMENTS FOR VISUAL ANALYSIS
• Representation – who/what is involved and what are they
doing, what’s happening in the image
• Interaction – roles and relationships, how do I relate to the
image, how do the design and lay-out contribute to meaning
• Composition – where elements are placed in relation to one
another, how do the design and layout contribute to
meaning
Callow, 2013
VISUAL RESOURCES OF INTERACTION
Gaze – to viewer (demand, offer), between participants (roles and relationships)
How does this affect the way

I interact and relate to the
image?
How does it make me feel?

• Angle – high angle, low angle, eye level
What roles and relationships are created?
How does this affect the way I interact

and relate to the image?

• Shot Distance – close shot, mid shot, long shot
How does this affect the way I interact and relate to the image?

• Proximity - close, open
How does this affect the way I interact and relate to the image?

COLORS
• White – purity, virtue, peace, simplicity

• Yellow – energizing, cheerful, hope, deceit, cowardice
• Orange – energy, vibrancy, friendly, autumnal
• Red – passion, anger, love, danger
• Light purple and pink – romance, spring
• Purple – luxury, royalty, creativity
COLORS
• Blue – calmness, sadness, peace
• Dark blue – business-like
• Green – envy, jealousy, new life, growth, nature,
renewables
• Brown- reliability, dependable, dull, earthy, natural
• Grey – moody, depressing, formal, conservative
• Black – elegance, formality, evil, death, mystery
APPLYING THE CONCEPTS: IMAGE 1
WHAT DOES THE PICTURE TELL?

WHAT IS THE MOTIF?
HOW DOES IT AFFECT YOU AND THE VIEWERS?

WHAT IS THE MOTIF?

WHAT IS THE MOTIF?
THE POWER OF NONVERBAL
Our interpersonal effectiveness depends on more that

words. Nonverbal messages add to or detract from our
words. In effect, we become the message, with our
nonverbal cues announcing our state of mind, expectations,
and sense of self. Our entire beings chatter incessantly,
revealing what we really feel and think.
www. sagepub.com
“It is estimated that NVC most often conveys a larger
share of social information(65% or more) while verbal
communication plays a less salient role(35% or less). So
much information is communicated nonverbally that
frequently the verbal aspect is negligible.”
- The Proceedings of The 1993 International Symposium

on LTM, Beijing-Hohhot, Oct.4 - 13,1993
TYPES OF NONVERBAL CUES
• Physical appearance – clothing, style
• Facial expressions and eye movement
• Kinesics- gestures, posture
• Proxemics – how space and distance are used
• Haptics – different types of touching
TYPES OF NONVERBAL CUES
• Chronemics – using time to communicate

• Gustatory - taste
• Olfactory - smell
• Silence
• Paralinguistics – how words are spoken, variations in the
voice
ACTIVITIES
• What is the message?
• What is the purpose of the message?
• How is the message conveyed by the image?
• Who is the target audience?
• What other ways of presenting the message are there?

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EVALUATING

• annotates the text by writing or using sticky notes.

• A Picture Paints a Thousand Words

• The Power of Nonverbal Cues

• Peeking through Promotions

Multimodality involves the complex interweaving

Bearne, E. And Wolstencroft, H. 2007

Multimodality is a theory which looks at the many different

Mode – signs: sound, graphic material, print

A traffic sign as the medium

• Paper-based texts: picture books, magazines, novels,

• Sound and visual media: radio, television, videos, CDs and

• Images: moving and still, diagrammatic or

• Sound: spoken words and music

• Gesture and movement

Grammar goes beyond formal rules of correctness.

The same is true for the ‘grammar of visual design’. Like

Kress and Van Leeuwen, 2006

Developing a metalanguage to help students

How does this affect the way

How does it make me feel?

What roles and relationships are created?

How does this affect the way I interact

How does it make me feel?

What roles and relationships are created?

How does it make me feel?

What roles and relationships are created?

How does it make me feel?

• White – purity, virtue, peace, simplicity

WHAT DOES THE PICTURE TELL?

WHAT DOES THE PICTURE TELL?

WHAT DOES THE PICTURE TELL?

Our interpersonal effectiveness depends on more that

- The Proceedings of The 1993 International Symposium

• Chronemics – using time to communicate

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