Visual communication: the power of images – part II

While the first part on this topic dealt with the theoretical foundations of visual communication, this part will also discuss practical aspects. But first, let’s briefly clarify how image information is received by us and what presence signals are.

The perception of image information

The question of how image information is perceived and processed has, of course, not only become relevant in the digital age. However, we now have to contend with a visual “information overload” that did not exist in this intensity before. For a message to reach the recipient at all, it usually first has to assert itself against competing image information. In other words, without a certain degree of conspicuousness, it is almost impossible for an advertising image to be noticed at all.

This raises the question of whether the human ability to perceive the environment in an orderly fashion is innate or whether it must first be learned. In any case, it is assumed that in the perception of an image not only the impressions from outside are relevant, but that the brain complements the sensory impressions by applying its own principles of order and thus a final inner image is generated.

At the same time, it is the case that only a small part of the information received via the visual field ever appears in consciousness. This also applies to the other senses. There are always filters upstream, which are supposed to extract exactly the information that we either consider relevant through experience (learning) or whose relevance has been programmed into us by evolutionary biology. Even if it is a truism: Depending on interest, activity, attention or mood, the same environment is perceived quite differently by the same person.

Use presence signals

With this knowledge in mind, we need to ask ourselves how the design of visual elements can be optimized in terms of perceptibility. One important point is certainly to emphasize the uniqueness of a thing or a circumstance. This can be done, for example, by detailed representations of special features (if the image is of an object), by color or tonal contrasts (light-dark), by an eye-catching framing or shape – for example, a round, oval, or octagonal image can become a Eyecatcher or by accompanying “presence signals” such as logos or lettering that provide an additional indication.

Examples of successful presence signals would be the Lacoste crocodile or the red Levi’s flag. Visual communication is therefore successful when the viewer understands what it is all about on the basis of just a few signals. This is best done unconsciously, so that the personal “firewall” is undermined. If you first have to consume the entire content of an advertising measure to get an idea, then in many cases the message will not reach the recipient at all, because the effort required to decode the content is comparatively high.

Finding the right visual language – a questionnaire

As we know, images can develop a special expressive power through emotionality, credibility and easy accessibility. They can help raise awareness of companies and set them apart from competitors. To optimize the visual language, it is important that the content, form and medium are selected to fit each other and the target group. You should therefore prepare thoroughly by finding clear and coherent answers to the following questions:

• • Who communicates with whom?
  • Which target groups should the images be shown to?
  • What message do you want to convey with the images?
  • Which brand values should definitely resonate with the target group?
  • Are there brand aspects that should be communicated subconsciously?
  • Through which channels should the images be delivered?
    e.g. posters, magazines, daily newspapers, TV, cinema, websites, social media, etc.
  • In which social and cultural environment should the images be delivered?
  • In which spatial radius should the images be delivered?
    e.g. local, regional, supraregional, global?
  • In which cultural circles does the chosen visual language work, and in which does it need to be adapted if necessary?
  • From when should the media delivery of the image material take place?

Once these questions are answered, you can begin to develop a campaign with appropriate imagery. It is helpful to also consider the following tips.

More tips for successful imagery

• • Clear structures help the viewer to quickly recognize the image’s message.
  • The principle “less is more” often also applies in the field of visual communication.
  • Not too many different colors should be used. The effect can be maximized by limiting yourself to firmly defined “corporate colors”.
  • Our eyes can perceive images in landscape format better. It’s no coincidence that films are almost always shot in landscape format.
  • The presentation of the images must also be right. Low-resolution images are suitable for a website, for example, but not for cinema.
  • The visual language should match the reputation of the company and the industry. Two examples: Instead of glossy photos, those that are authentic and show people “unvarnished” are more suitable for advertising social projects. If, on the other hand, you want to market luxury goods, you need elaborately produced photographic material that matches the prestige of the product.
  • Images are well staged when they trigger exactly the emotions and desires in the observer that were intended.
  • If a new trend is to be created and/or virality is to be generated, then one must have the courage to try out, to take unusual perspectives and to use different stylistic devices. However, to minimize the risk of failure, be sure to include a test audience.
  • Consistent adherence to an image language only works if the corresponding image material is available in an orderly manner and can be accessed centrally (cloud-based). A professional image management system can be very helpful here.

Conclusion and outlook

Images inspire, images communicate and images have power. They can convey emotions that appeal to our subconscious and linger for a long time. Whereby it is a high art to present stories in meaningful and moving images. Consider, for example, the impressive attempts to visually convey biblical content to the non-literate believers of the Middle Ages. Today, of course, visual communication is used primarily for commercial purposes. It is said that images make the “character” of a brand visible. In any case, they are suitable for forming the core of a brand and positioning it where you want it to be.

Presumably, the amount of nonverbal visual elements in the design of products, brochures, websites and other media content will continue to increase. This trend has also been recognized in the scientific community. Analogous to the “linguistic turn”, one speaks there of the “iconic turn”. Man is not only the linguistic being who composes texts and thinks in language, he is also the only being who knows visual languages and has to find his way in a self-generated world of images and symbols.