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Common Core in Action: 10 Visual Literacy Strategies

Do you wish your students could better understand and critique the images that saturate their waking life? That’s the purpose of visual literacy (VL)—to explicitly teach a collection of competencies that will help students think through, think about, and think with pictures.

Standards Support Visual Literacy Instruction

Visual literacy is a staple of 21st century skills, the idea that learners today must “demonstrate the ability to interpret, recognize, appreciate, and understand information presented through visible actions, objects, and symbols , natural or man-made.” Putting aside the imperative to teach students how to create meaningful images, the ability to read images is reflected in the following standards.

Common Core State Standards

• CCSS.ELA-Literacy.RH.6-8.7 : “Integrate visual information (e.g., in charts, graphs, photographs, videos, or maps) with other information in print and digital texts.”
• CCSS.ELA-Literacy.CCRA.R.7 : “Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.”
• CCSS.ELA-Literacy.CCRA.R.6 : “Assess how point of view or purpose shapes the content and style of a text.”
• CCSS.ELA-Literacy.CCRA.SL.1 : “Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.”

National Council of Teachers of English Standards

• Standard 1 : Students read a wide range of print and non-print texts.

Mid-Continent Research for Education and Learning Standards        

• Standard 9 : Uses viewing skills and strategies to interpret visual media.

On their own and without explicit, intentional, and systematic instruction, students will not develop VL skills because the language for talking about images is so foreign. Ever heard kids debate the object salience and shot angles of a Ryan Gosling meme? To add to the instructional complexity, visuals come in an assortment of formats, including advertisements, cartoons (including political cartoons), charts and graphs, collages, comic books and graphic novels, diagrams and tables, dioramas, maps, memes, multimodal texts, photos, pictograms, signs, slide shows, storyboards, symbols, timelines, videos.

How to Teach Visual Literacy: Visual Thinking Routines

The VL strategies described in the sections that follow are simple to execute, but powerfully effective in helping students interpret images.

Think-alouds : The think-aloud strategy—typically used to model how adept readers make meaning from a text (demonstrated in the following short video)—can be adapted for reading a visual artifact. After you model how to do it, have learners try this approach with a partner. Encourage elaborate responses. If you need a crash course in visual grammar before implementing this strategy in class, build your background knowledge with Discovering How Images Communicate .

Model Think-Aloud strategy from Derek Fernandez on Vimeo.

Visual Thinking Strategies:  Visual Thinking Strategies (VTS) is a specific approach to whole-class viewing and talking about art that primarily uses these questions:

• What do you notice?
• What do you see that makes you say that?
• What more can we find?

VTS encourages students to think beyond the literal by discussing multiple meanings, metaphors, and symbols. Used with all ages—elementary students (see the video below of kindergartners at Huron Valley Schools) up to Harvard medical students—implementation is simple. The weekly VTS lessons from The New York Times are a good place to start.

Visual Thinking Strategies

Asking the 4 Ws:  Inspired by Debbie Abilock ’s NoodleTools exercises, I developed the 4 Ws activity to help students make observations, connections, and inferences about an artist’s agenda and develop ideas about a work’s significance:

Five Card Flickr:  In Five Card Flickr , players are dealt five random photos. To promote VL, have students follow these steps:

• Jot down one word that they associate with each image.
• Identify a song that comes to mind for one or more of the images.
• Describe what all the images have in common.
• Compare answers with classmates.

During a subsequent discussion, ask students to show what elements of the photo prompted their responses.

Image analysis worksheets:  To promote analysis of key features specific to different formats, pick an appropriate tool from the National Archives:

• Photo Analysis
• Cartoon Analysis
• Motion Picture Analysis
• Map Analysis
• Poster Analysis

Step-by-Step: Working With Images That Matter

The following lesson is partially based on Ann Watts Pailliotet’s notion of deep viewing, a process that occurs in three phases:

• Literal observation
• Interpretation
• Evaluation/application

Remember the 1957 photo of Elizabeth Eckford and Hazel Bryan ? Eckford was one of the first African American students to attend the newly desegregated Little Rock High School. In the photo, you see her entering the school grounds while a throng of white students, most prominently an enraged Hazel Bryan, jeer. The photo was disseminated worldwide within a couple of days, uncorking new support for civil rights.

Here are the lesson procedures:

Literal observation phase:  Give students a hard copy of the Eckford and Bryan photo. To help them internalize the image, tell them to study it for one minute before turning it over and doodling a version of it from memory. Next, have students write what they observe—what is pictured, how space used used, etc.—in a shared Google Doc.

Interpretation phase:  Copy all the student-generated descriptions from the Google Doc, paste them into Tagxedo , and then project the resulting collaborative word cloud for the class to view. Invite students to interpret the word cloud while periodically re-examining the photo. What are the most important words? Which words do they have questions about? What other images are they reminded of, past or present? What messages are implicit and explicit? How did they analyze the photo? What do they understand now that they didn’t before? Then have students help you summarize the conversation.

Evaluation and application phase:  Direct students to write about the image’s relevance on notecards. Does the implied purpose of the photo convey ideas that are important? How? Is the image biased? How so? Take the postcards and pin them around the Eckford and Bryan photo to create an instant bulletin board.

To extend the lesson, show the following six-minute video, which narrates how Bryan, as a 20-year-old, apologized in person to Eckford. The video features a contemporary photo of both women, mature now, arm in arm, smiling in front of the once infamous Little Rock High School. Ask students: Does the video alter your reactions to the original image? How? Will you approach other socially charged photos differently? Why?

Final Frame

When reading was taught the traditional way, with printed texts, students accepted the authority of the author and received his or her message as a window on reality. In the 21st century, students need to respectfully question the author’s authority, articulate what is represented and how, and infer what has been excluded and why.

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What is Visual Literacy?

Visual literacy refers to the ability to successfully interpret and use images. We derive meaning from a great deal of visual input in our daily lives – something that has increased significantly with the rise of digital media and technology. Today, our communications are more peppered with visuals than ever, including emojis, memes, profile pictures, advertising imagery, etc.

Many jobs roles include application of visual literacy skills – from manipulation of imagery in creative media and design arenas to representing data in a financial or scientific context. Being able to effectively interpret visual information is a key skill, impacting many areas of our professional and personal lives. As educators, it is useful to consider how you might encourage and utilise these skills in the classroom.

In this article, we are going to explore what visual literacy is, why it should be encouraged with regards to teaching and learning, and provide some suggestions as to how it can be fostered in the classroom.

Visual literacy is the ability to make sense of a whole range of visual information – essentially to be able to ‘read’ visuals, appreciating and being able to interrogate or analyse both literal and inferred meaning. It also refers to effectively using images to communicate meaning. Just as spoken and written language have receptive and expressive elements, so does visual language.

[Visual literacy is] understanding how people perceive objects, interpret what they see, and what they learn from them.

James Elkins, The Concept of Visual Literacy and its Limitations

Visual literacy, and the skills associated with it, can aid learning in all areas of the curriculum. It is an important concept in terms of art and design but it also has wider reaching implications.

In today’s classrooms, it is likely that you will be engaging with children’s visual literacy as part of your general good teaching practice, in the following broad ways:

Visuals Created for Learners

You are most probably creating visuals for children and young people to interpret, therefore engaging their visual literacy skills, in a range of contexts. This could be in terms of classroom organisation (for example, photo labels for pre-school children showing where to find equipment), visual learning aids (for example, story mountains) or ways of presenting lesson content (for example, slide presentations, illustrations, photographs, sketches, models, charts, film clips, graphs or diagrams). 

In some circumstances, we are aware of the need to accompany these visuals with direct teaching in terms of how to interpret them – for example, you would not expect a pupil to be able to successfully interpret a pie chart without previous input. 

However, we may take for granted the visual literacy skills that students need to employ in order to fully access some of the visual content we are using. We might plan to use a photograph as the stimulus for a piece of creative writing, for example, without fully considering whether the children have the visual literacy skills necessary to get the most from the activity. 

Visuals Created by Learners

Visual literacy will also be demonstrated in how learners effectively create and use visuals to communicate meaning.

For example, it is good practice to offer a range of ways for children to present or record their learning. (This can also be a particularly powerful tool in supporting children who are neurodivergent or have special education needs and/or disability.) This might include creating a presentation, drawing a concept map, recording a video, producing a labelled diagram, etc. These all rely on visual literacy skills – in this case, manipulating those skills to express meaning.

Examples of Visual Literacy Skills

As with reading and writing the written word, a great many skills work together to establish a good level of visual literacy. Just with word-based literacy, a student’s visual literacy skills will develop and deepen over time, given valuable and relevant opportunities to learn and apply them. 

Encouraging visual literacy in the early years and building on this throughout the key stages will help to develop visually literate adults.

Based on the description of a visually literate adult by The Association of College & Research Libraries ( ACRL ), visual literacy skills include the ability to:

• Interpret images.
• Analyse the meaning of images.
• Evaluate images and their sources.
• Use images and visual media effectively.
• Design and create meaningful images and visual media.
• Understand the wider context surrounding the creation and use of images and visual media – including ethical, legal, social and economic issues.

Depending on the age group and subject(s) that you teach, you may embed these skills into your teaching practice and lesson planning in different ways and to different degrees.

Why Should I Encourage Visual Literacy in the Classroom?

There are many reasons why it is beneficial to consciously encourage visual literacy in the classroom. These include:

To develop a life skill

We live in an image-rich world. From being able to follow instructions to construct flat pack furniture to recognising that images on social media are carefully curated to choosing an emoji to accompany a message, visual literacy skills will not only be beneficial in an educational context, but also in adult life.

Being visually literate contributes towards having good communication skills. A 2020 LinkedIn survey found that communication is the most in-demand skill for today’s job market.

To unlock other learning

Visual literacy is not only a skill to learn in itself but it is also a means of acquiring other learning. The government’s Reading Framework points out that English is not only a subject in its own right but a means of delivering the curriculum. Likewise, visual elements accompany the written aspects of the curriculum and being visually literate means that children can draw meaning from visuals to aid their learning in other areas. 

This includes, for example:

• Gathering information from charts, graphs and diagrams in maths or science.
• Interrogating visual source material, such as photographs or posters in history.
• Reading and constructing maps in geography.
• Analysing creative visuals in art, drama or design. 

Taking the time to explicitly develop visual literacy skills will mean that visual elements of planned learning across the curriculum will have more meaning and impact for the learner.

To support verbal language development

Using accompanying visuals – images, signs or gestures – can support speech and language development in young children as well as provide support for those whose first language is not English.

To support wider literacy skills

Visual literacy can be used to help teach and reinforce reading comprehension. Using visual texts (including films, adverts, picture books, etc), or the visual elements of written texts, as a focus for comprehension activities can be both engaging and impactful.

Similarly, encouraging visual literacy can have an impact on writing, as it can be used to stimulate and strengthen a student’s imagination. Using visual material (including photographs, illustrations and film clips) as a stimulus for writing can produce excellent results. However, you should apply an adaptive approach to assess your learners’ current visual literacy skills when planning the activity, and build in opportunities to model the activity. 

To encourage critical thinking

Visual literacy can strengthen critical thinking skills (Thompson, 2019). As well as being a desirable academic skill, critical thinking also has a large role to play in safeguarding, particularly in terms of online risk. For example, children should be taught to think critically about the imagery they encounter and interact with online.

To support children with special educational needs and/or disabilities

Many intervention or support strategies for children with SEND include visual elements – such as visual timetables, feelings boards and image-based Speech and Language interventions.

Building in more opportunities to utilise visual literacy can form part of the reasonable adjustments that you should make to support children’s individual needs. For example, children who are neurodivergent may find visual information more accessible than resources that are text-heavy.

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Teaching Visual Literacy

Your strategies for teaching visual literacy will vary depending on your cohort. The following provides some ideas that might be helpful. These techniques can be applied to any visual input (including those presented alongside written text) and can be carried out as a stand alone task to improve visual literacy or as part of wider lesson objectives.

Selecting visual input

The visuals that you use could be moving or still images. Think about incorporating some of the following:

• Short animations – Pixar shorts such as ‘For the Birds’ or ‘Bao’ are rich visual resources around which you can base whole literacy topics. 
• TV adverts – these allow you to look at how images are used to persuade or carry a message. 
• Print advertising.
• Posters –  this can include movie posters, historical propaganda posters and public health posters.
• Artwork – works of art can provide excellent stimulus. 
• Stills from films – take a ‘snapshot’ from a film to explore.
• Stills from computer games.
• Photographs – historical photographs can be particularly interesting to analyse.
• Picture books – these should not just be considered as suitable for only younger children. There are many excellent picture books that you can use when teaching older students – for example ‘Window’ by Jeannette Baker, ‘The Lost Thing’ by Shaun Tan or ‘Voices in the Park’ by Anthony Browne, to name a few.
• Graphic Novels.
• Memes or gifs.

A wealth of visual literacy resources can be found on The Literacy Shed website. 

The more variety you incorporate, the more opportunities you will have to develop, and build on, those visual literacy skills.

Receptive Activities

When exploring any of these visuals, you will want to scaffold the activity through questioning. Simply presenting children with rich imagery and asking them to describe it is not going to yield the best results.

Depending on the activity and your desired outcome, you might want to ask questions along the lines of:

Literal exploration

• Who or what can you see?  
• How would you describe the way the character/setting looks?
• What happened in this section of the film/animation?
• What did X do?
• What is this advertising?
• What do you think the character is feeling? What clues can you find to this in the picture/film?
• What do you think might have happened just before this?
• What do you think might happen in the next shot?
• What message do you think the filmmaker/author/artist is trying to convey? 
• How does this make you feel? 
• What do you think the artist/author/filmmaker wants you to feel, and why? 
• Do you think this is a good choice of image/illustration?

Expressive Activities

There are many ways you could provide your students with opportunities to apply visual literacy skills when generating their own work. These might include 

• Creative writing based on the particular visual input. This could include a re-telling of a story, writing a story inspired by the image, a diary entry of the character pictured, a setting or character description, writing the next episode or an alternative ending.
• Creating their own concept maps or knowledge organiser of current topics across the curriculum.
• Creating visuals from written stimuli. For example, reading a character description and sketching the character.
• Creating a multimedia presentation in any subject for a relevant topic.  

Visual literacy is embedded into much of good teaching and learning practice, just as it is within our everyday lives. By consciously considering how you are using visual literacy and how you might enhance the visual literacy skills of the children and young people you work with, you can optimise the value of those learning experiences. 

Further Resources:

• Supporting Speech and Language in Early Years
• How to Promote a Reading Culture in Schools
• Why is Reading Important for Children?
• Promoting Social Development in Children Through Structured Group Play
• Creative Writing Quiz
• Marking Symbols: A Guide for Primary School Teachers

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Her favourite article is Why is Child Development So Important in Early Years?

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Visual Literacy Is Critical for 21st Century Learners

NCTE 01.13.21 Multimodal Literacies

This post was written by NCTE member Dianna Minor.

One of the major tasks I’ve embarked upon since my initial National Board Certification (NBCT) is collaborating with colleagues to integrate visual literacy in secondary classrooms, giving students opportunities to look beyond the printed text.

Visual literacy builds stronger readers, readers who are able to think about texts in numerous ways through a different lens, an important skill for critical readers and thinkers in the 21st century. Students skilled in visual literacy are able to create meaning from images, which in turn improves their writing proficiency and critical thinking skills. By integrating visual literacy into classrooms, we help students learn to collaborate and to discuss a wide range of ideas while expressing their own.

It is critical for students to be able to evaluate content/texts presented in diverse formats and media, a skill that can require much teacher modeling and independent practice. As students gain experience in interpreting works of art, infographics, film, videos, political cartoons, photographs, maps, advertisements, slide show presentations, and so on, they learn that they can use their imagination to see and think between and beyond the lines to draw inferences and conclusions. Visual literacy encourages student reflection, analysis, and evaluative thinking skills.

I’ve used visual literacy lessons to give students practice in analyzing tone, mood, and details in works of art. For example, in poetry lessons, I’ve modeled the Visual Thinking Strategy (VTS) when looking at photographs from the civil rights era. With this strategy, students focus on key questions:

• What’s going on in the photograph/art piece? (making inferences)
• What evidence do you see to support this? (looking for supporting evidence)
• What more can we find? (analyzing details to see how they connect as a whole)

Through these questions, students have discovered themes and identified main ideas, helping them understand the stories from the photographs.

In addition to photographs, I’ve integrated more works of art and paintings into my classroom so students have opportunities to analyze how two texts are similar and different and to discuss and compare the different approaches the author or artist takes.

Integrating visual literacy also gives quiet or reluctant students more opportunities to feel comfortable in the classroom; these lessons tend to be in small groups, allowing students to practice their own analysis through viewing, listening, and contributing.

With short stories and major literary works (essays, novels, longer pieces of text), teachers can pair texts with photographs and then ask students to draw evidence from informational texts to support analysis, reflection, and research. One useful tool for analyzing visual texts is the OPTIC strategy, in which the O stands for an overview , a general statement describing the photograph; P stands for important parts of the image, and could include inferences about what they contribute; T stands for how the title (or text) contributes to the meaning; I stands for interrelationships in the image—how the elements work together to create mood or meaning; C stands for conclusion , a statement that interprets the overall meaning. Using this framework, students can discuss the idea of claims and use detail and imagery to identify the central message of the photograph.

Visual literacy is invaluable to reader development in so many ways. It allows gradual development of the student reader’s understanding, slowing down the analysis process by making it more deliberate, and enabling students to build their own interpretation, to rely on their own powers of critical thinking.

Dianna Minor is an educator, writer, and consultant. Her professional experience includes literacy and curriculum and instruction. Twitter: @diminor1

It is the policy of NCTE in all publications, including the Literacy & NCTE blog, to provide a forum for the open discussion of ideas concerning the content and the teaching of English and the language arts. Publicity accorded to any particular point of view does not imply endorsement by the Executive Committee, the Board of Directors, the staff, or the membership at large, except in announcements of policy, where such endorsement is clearly specified.

Teaching Visual Literacy and Visual Texts in the Classroom

VISUAL LITERACY DOMINATES THE INFORMATION ERA

For many people, the word ‘literacy’ conjures up an image of a library filled with dusty books. This is unsurprising given the importance the written word has played in all our lives, especially those of us who are too old to be considered ‘digital natives’.

Despite the importance of the written word in our schools, it is not the only means of widely sharing our thoughts and ideas. We are constantly bombarded with static and moving images in this Internet age. It is more essential than ever that our students develop the necessary visual literacy skills to navigate this image-intense world we all inhabit.

Screens of all shapes and sizes dominate our attention span; YouTube and various social media platforms have replaced the book as the primary source of entertainment in the blink of an eye, and this is unlikely to change.

In this article, we will examine some approaches to help you devise activities using visual texts and teaching visual literacy in the classroom. We will also suggest fun and meaningful activities you can use with your students today.

Firstly, however, we need to get to grips with precisely what we mean when we use the term ‘visual literacy’. We can consider the term as a general working definition referring to interpreting and creating visual images. Visual literacy is about communication and interaction, as with other types of literacy. While it has much in common with those other forms of literacy, it has some unique aspects that students will need to explore specifically.

What is Visual Literacy?

The basic definition of visual literacy is the ability to read, write and create static and moving visual images. This concept relates to art and design but has much broader applications. Visual literacy is about language, communication and interaction. Visual media is a linguistic tool with which we communicate, exchange ideas and navigate our highly visual digital world .

Luckily, when introducing visual texts to students, there is no shortage of options and examples, as can be seen below.

The term was first coined in 1969 by John Debes, who founded the International Visual Literacy Association:

A Complete Visual Text Teaching Unit

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This collection of  21 INDEPENDENT TASKS  and  GRAPHIC ORGANIZERS  takes students beyond the hype, special effects, and trailers to look at visual literacy from several perspectives, offering DEEP LEARNING OPPORTUNITIES watching a series, documentary, film, or even video game.

What Aspects of Visual Literacy Should Be Taught?

Visual literacy is more than just recognizing images or understanding graphics; it’s about comprehending, analyzing, and effectively communicating through visual means. As educators, fostering visual literacy among students is paramount in preparing them for a world saturated with visual stimuli. Here, we delve into the key components of visual literacy and explore how educators can cultivate these skills in their students.

1. Interpretation: Decoding Visual Information

Interpretation lies at the heart of visual literacy. Teaching students how to analyze and interpret visual information equips them with the essential skills to make sense of the visuals they encounter daily. Whether deciphering complex infographics, decoding symbols in artworks, or understanding the message behind advertisements, interpretation enables students to extract meaning from visual texts. Educators can facilitate interpretation by engaging students in activities that prompt them to analyze images, charts, graphs, and diagrams critically.

2. Creation: Empowering Students to Visualize Ideas

Encouraging students to create their own visual representations is a powerful way to enhance their visual literacy skills. By engaging in the process of creating visuals, students not only deepen their understanding of concepts but also develop their ability to communicate ideas effectively. Whether designing posters, crafting digital presentations, or producing multimedia projects, creation fosters creativity and empowers students to express themselves visually.

3. Critical Thinking: Evaluating Visual Messages

Critical thinking is essential for navigating the vast sea of visual media with discernment and scepticism. Educators play a vital role in developing students’ ability to evaluate visual messages critically. This involves teaching students to question the credibility of sources, recognize bias, and consider the creator’s perspective. Educators cultivate a generation of critical consumers and creators of visual media by engaging in discussions and activities that prompt students to analyze the intent and impact of visual content.

4. Ethical Considerations: Navigating the Complexities of Visual Representation

In an age where images can be easily manipulated and misrepresented, discussing ethical considerations is crucial in visual literacy education. Educators must guide students in navigating the ethical implications of using and creating visual content. This includes addressing issues of representation, authenticity, and the responsible use of images. By fostering conversations around ethical dilemmas and encouraging students to consider the ethical implications of their visual creations, educators instil values of integrity and respect in their students.

Incorporating these critical components into visual literacy instruction empowers educators to nurture students adept at interpreting, creating, and critically evaluating visual content. By equipping students with these essential skills, educators prepare them to thrive in a world where visual communication reigns supreme, enabling them to navigate and contribute meaningfully to an increasingly visual society.

Why is Visual Literacy Important?

Much of the information that comes to our students is a combination of both written text and images. Our students must be fully equipped to process that information in all its forms.

Considering how visually orientated we are as humans, it is no surprise that images have a powerful impact on us. Research shows that there is a wide range of benefits derived from improved visual literacy, including:

• Visual Information is More Memorable

One of the most effective ways to encourage information to jump from limited short-term memory to more powerful long-term memory is to pair text with images. Studies show that we retain approximately 10-20% of written or spoken information but around 65% when presented visually.

• Visual Information is Transferred Faster

Information presented visually is processed extremely quickly by the brain. The brain can even see images that appear for a mere 13 milliseconds. Around 90% of the information transmitted to the brain is visual in nature.

• Helps Students Communicate with the World Around Them

Traditionally, we think of teaching literacy as the two-way street of reading and writing. We can think of visual literacy as involving similar processes of interpreting images and creating images. In a fast-moving world, with an ever-increasing diagnosis of attention deficit disorders, we increasingly rely on images to quickly convey meaning.

• Enriches Understanding

While images can be used in isolation, they often accompany text or audio. Images can significantly enrich the student’s understanding of a text or other media, but to interact with these more profound levels of meaning, students must possess the necessary skills to access those depths.

• Increases Enjoyment

Not only does increased visual literacy enrich our students’ understanding of the media they consume, but it can also enrich their enjoyment—especially of visual art. If you have taken younger students to an art gallery, you may have heard protests of ‘This is boring!’

However, when students have a deeper understanding of the ‘meaning’ behind the art pieces, are familiar with the context around the art, have insights into the lives of the artists, or are experienced with some of the techniques that produced the pieces, they often derive greater pleasure from their visit.

The same is true of their engagement in terms of visual literacy. As informed readers of images in various modalities, students are exposed to the exciting dimensions of shape, color, texture, and more.

Creates More Educated Image Readers

In an era of fake news and ceaseless advertising, a responsible approach to educating our students must encourage them to become informed viewers of the world, including the media they engage with. Through the teaching of visual literacy, we can help students understand how the images they consume can manipulate their emotions and persuade them to act in a given way.

Supports EAL Learners

The use of images in the classroom can be of great benefit to students who come from non-English-speaking backgrounds. As these students travel on their road to fluency in English, images can provide an effective bridge in that learning process. While using images in the forms of flashcards, writing frames, etc, to teach EAL learners may be obvious, creating images by the students themselves can also be a great way to assess their understanding of more abstract concepts and vocabulary.

What Forms of Visual Text Are Used in the Classroom?

Students are exposed to a vast array of visual media. When we hear the jazzy term ‘visual text’ we may immediately think of its expression in the digital age, but the roots of visual texts stretch deep into our history; all the way back to our beginnings. Think of the cave paintings in Lascaux!

However, today, there are many more forms of visual text to consider. From cave walls to computer screens and all points in between, students are exposed to billboards, photographs, TV, video, maps, memes, digital stories, video games, timelines, signs, political cartoons, posters, flyers, newspapers, magazines, Facebook, Instagram, movies, DVDs, and cell phone wallpaper—to name but twenty! All these can serve as the jumping-off point for a lesson on visual literacy.

The digital age has opened the floodgate on images spilling into our consciousness and unconsciousness. The implications for visual literacy stretch far beyond the limits of the English classroom into all areas of our lives. From the math student interpreting graphs to the music student following musical notation or the geography student poring over Google Earth. For a multitude of purposes, in an array of modalities, visual literacy is ever more critical.

The Evolution Of Film As Visual Media

In the mid-20th century, the impact of film and television introduced new modes of information and entertainment consumption, dramatically influencing popular culture.  For the first time, we could tell a story simultaneously to three hundred people in a cinema as a shared experience in 90 minutes that previously may have taken weeks in isolation.

Whilst we rightly should explore the contrast between books and films as storytelling tools, the impact film has had on popular culture over the last century is incomparable.

In 1902, Georges Melies released “A Trip to the Moon”, which is generally regarded as the world’s first feature film.  At the time, this creativity was probably only achievable by less than ten people worldwide.

Within less than a decade, films were being produced globally. Shortly after, the film and television “industry” employed thousands of creative storytellers in Hollywood alone. 

As a result, Visual Literacy evolved from the filming of staged plays into an immersive and engaging storytelling method that transformed storytelling from hundreds of pages of text into  “lights, camera and action.”

In the second half of the twentieth century, we saw pockets of innovative educators draw upon film as a genuine study area, introducing students to new methods of consuming and creating narratives.

Today’s students would consume visual literacy over traditional text-based literacies by a factor of ten outside the classroom. However, we are still reluctant to teach it even though it is far easier and cheaper to create a video and share it with millions via YouTube than to get a book published and printed.

Furthermore, many of our students are completely uneducated as to the principles of visual texts. They cannot effectively comprehend or decode a film or television show from an informed perspective.

Identifying and Understanding Visual Literacy Clues?

“Visual Literacy is the ability to construct meaning from images. It’s not a skill. It uses skills as a toolbox. It’s a form of critical thinking that enhances your intellectual capacity.”

Brian Kennedy

Director, Toledo Museum of Art

Suppose visual literacy is about decoding meaning from images of various kinds. In that case, we must teach our students how to set about this intimidating task – just as we do when we teach them how to approach a written text. Regardless of the nature of the image, this process follows three general steps:

1. What Can You See?

Students must become familiar with Visual Literacy Clues (VLCs) to answer this. When students are familiar with these clues, they will have a method of approaching any image to decode its meaning. The VLCs are subject matter, colors, angles, symbols, vectors, lighting, gaze, gestures, and shapes. These categories provide an approach to examining the details of the various aspects of the image they are reading.

2. How Does It Make You Feel?

After the students have had time to note what they can see in the image through examination of the VLCs, it is now time for them to consider their emotional response to what they have viewed.

With close reference to the VLCs they have previously identified, students express how the image makes them feel and how it has influenced them to feel this way. They may feel anger, anguish, excitement, happiness, etc. There is no limit to the emotions they may refer to, provided they can point to evidence from the image. Here are some suggested questions to help the students explore their responses:

Subject Matter: What is the topic of the movie? Who and what are in the image? What is the image about?

Color: How is color used in the image? What effect do the colors choose have on the viewer?

Angles: Are we looking from above or below? What is the camera angle? How does this affect what we see and how we feel about it?

Symbols: What symbols are used in this image? What do you think they represent? Are the colors that were chosen symbolic?

Vectors: Can you see the major lines in the image? Are they broken or unbroken? How do the lines create reading paths for our eyes?

Lighting: Can you describe the lighting used in the movie? How does it affect the ‘mood’ of the movie?

Gaze: What type of look is the character giving? Where is their gaze directed? What does this say?

Gesture: What type of gestures is the character giving? What is communicated by these gestures?

Shapes: What geometric shapes can you recognize in the image? Do they repeat? Is there a pattern? Is order or chaos conveyed?

3. What Is The Image Trying To Tell Us?

This third aspect peels back another level of meaning to get to the image’s overall message. This question asks the students to delve into the intentions of the image-maker themselves. The genre of the image will be of significance here, too, as the student considers the nature of the image as art, entertainment, advertisement or a fusion of the various genres.

Year Long Inference Based Writing Activities

Tap into the power of imagery in your classroom to master INFERENCE as AUTHORS and CRITICAL THINKERS .

⭐⭐⭐⭐⭐ (26 Reviews)

This YEAR-LONG 500+ PAGE unit is packed with robust opportunities for your students to develop the critical skill of inference through fun imagery, powerful thinking tools, and graphic organizers.

Activities for the Teaching of Visual Literacy in the Classroom

1. caption a photograph.

Photographs are one of our students’ most familiar forms of visual media. Often, they see photographs accompanied by captions.

In this exercise, give copies of a single photograph to the class without captions. Their task is to closely examine the photograph individually or in small groups before writing a caption to accompany it. When students have completed their captions, they can compare them with each other before you reveal the true nature of the photograph.

Before writing their caption, you may wish to provide some supporting questions or background information. You may, however, wish them to go in blind to any background other than what they can deduce from the photograph itself.

This activity aims to reveal to the students how open a single visual image can be to interpretation. The students will gain awareness of the power of a caption to frame an image’s meaning, even if the caption is inaccurate.

Some suggested questions for students to consider:

• What people, objects, or activities can you see in the picture?
• Are there any clues as to when it was taken? What was happening at this time in history?
• Are there any clues as to where it was taken? Are there any clues to why it was taken or who took it?
• Is it a posed photograph? A natural scene? A documentary photograph? A selfie?

Extension: You may wish to use this activity as a lead-in to a more prominent topic. It can be a great introduction to draw out the students’ background knowledge and lead to a more extensive discussion or research project. This activity can also be easily adapted for various types of images, such as advertisements.

2. Engage with a Video Game

There is no doubt of two things when it comes to video games:

1. They get a bad rap

2. They are extremely popular among younger people

And while there is no doubt that there are some games on the market of dubious worth, as with any art form, there is much of merit and potential in this relatively new medium.

While there are obvious links to storytelling activities that can be made by examining the narrative of many video games, it may be much more interesting and useful to look more closely at how video games ‘work’ in terms of the overall experience.

Video games are immersive, multi-sensory experiences for players. This is a large part of their appeal. While written texts can appeal largely to our imaginative faculties, video games can also appeal to our senses of sight and hearing – and now, even touch can be incorporated. To have students focus on visual aspects of their gaming experience, give them a worksheet to make notes on that experience using the VLC categories listed above. This can create a great group discussion activity as the movie or game plays with the sound off.

3. Multi-Modal Comparisons

We are familiar with the concept of movie tie-ins. In days gone by, the response to the question “Have you read x?” was often a “No, but I saw the movie.” Nowadays the reply is just as likely to be “No, but I have the video game.” The triumvirate of the book—movie—game tie-in is fertile ground for some interesting text comparison work in the classroom.

Popular tie-in triplets include Harry Potter and the seminal Lord of the Rings. Use your students’ powers of visual perception to create this multimedia experience by selecting scenes from the original book and comparing how the scene is handled in the movie or video game.

Keep the focus on the visual elements in the latter two media. Encourage students to discuss, write, or prepare a presentation on how the movie or video game translates non-visual aspects from the text version into visual elements. Again, as discussed above, reference to the VLCs will be an important element in this activity. 

4. The Timeline

While the activities examined so far have focused on honing the students’ comprehension skills in relation to visual texts, this activity allows students to apply that knowledge to the creation of visual texts themselves.

Encourage the students to plot significant milestones in their lives on a visual timeline. They may use a combination of images and text if this aligns with your learning objectives and students’ abilities. However, do ensure you remind students how they can incorporate the VLCs into conveying meaning in their images.

This can also be a valuable activity in which to incorporate various aspects of IT skills. Students can perform advanced Google image searches to locate copyright-free images or use websites like The Noun Project to locate Creative Commons icons to help them make a slideshow version of their timeline on PowerPoint. A wealth of software applications can assist, many of which are freely available online.

Integrating Technology Into Visual Literacy Education

In today’s digitally driven world, technology offers a plethora of opportunities for both teachers and students to enhance visual literacy skills. By leveraging digital tools and resources, educators can engage students in dynamic learning experiences that foster critical thinking, creativity, and communication. Here are some ways teachers and students can use technology to enhance visual literacy:

• Interactive Multimedia Presentations : Teachers can use software like Microsoft PowerPoint or Google Slides to create visually engaging multimedia presentations. Incorporating images, videos, and interactive elements captures students’ attention and helps them understand complex concepts through visual representation. Additionally, students can learn to create their own multimedia presentations, enhancing their skills in visual storytelling and design.
• Digital Storytelling : Digital storytelling platforms such as Adobe Spark and Storybird enable students to combine text, images, and multimedia elements to create compelling narratives. By planning, creating, and sharing digital stories, students develop their visual literacy skills by making deliberate choices about visual elements to enhance the storytelling experience.
• Virtual Reality (VR) and Augmented Reality (AR) : VR and AR technologies provide immersive experiences that transport students to different locations, time periods, or scenarios. Teachers can use VR headsets or AR apps to explore historical sites, simulate scientific experiments, or visualize abstract concepts. By interacting with virtual environments, students develop a deeper understanding of spatial relationships and visual perspectives.
• Digital Art and Design Tools : Software programs like Adobe Photoshop, Illustrator, and Canva empower students to express their creativity through digital art and design. From editing photos to creating graphic illustrations, students learn to manipulate visual elements to convey meaning and evoke emotions. These tools also encourage experimentation and collaboration, allowing students to explore different artistic techniques and styles.
• Online Image Analysis and Annotation Tools : Websites and apps such as Padlet, ThingLink, and Skitch enable students to annotate, analyze, and interact with images collaboratively. Teachers can use these tools to facilitate discussions around visual texts, encouraging students to ask questions, make observations, and draw connections between images and other forms of media.

By integrating technology into visual literacy instruction, teachers can create dynamic learning environments that empower students to become critical consumers and creators of visual media. Through hands-on exploration and experimentation with digital tools, students develop the skills and con

Draw a Line Under It

In this article, we have touched the tip of that proverbial iceberg. The scope for using visual texts in the classroom is potentially limited only by our own imagination. While we have looked at several concrete examples of visual literacy-based activities in the examples above, the opportunity for building lessons around the myriad forms of visual texts is endless.

Whether utilising advertisements, internet memes, or classic works of art as the focus, start with the three broad questions outlined previously: What can you see? How does it make you feel? What is the image trying to tell us? These questions provide the basis for developing your learning objectives, and your activities can quickly be built around them.

The Visual Literacy Clues provide strategies for reading any visual text, whether moving or still images. The more practice students get using these strategies, the more fluent their reading will become. While for some students, these skills may take time to develop, remind them too that just as we can refer to images as visual texts, we can equally refer to written text as images themselves, as the letters on the page are themselves symbolic in nature.

If they can learn to read the complexities of the written language, they can be confident they can learn to read the visual world too.

Other great articles related to visual literacy

Social Media, Emoji and Information Literacy for students and teachers

Information Literacy and Media Literacy for Students and Teachers

How to Write an Advertisement: A Complete Guide for Students and Teachers

How to Write an Article

6 Ways To Identify Fake News: A Complete Guide for Educators

13 Literary Devices to Supercharge your Writing Skills

• UNC Libraries
• HSL Subject Research
• Introduction to Visual Literacy

Introduction

Introduction to Visual Literacy: Introduction

Created by health science librarians.

About this guide

Why visual literacy, what is visual literacy.

• Learning and Visual Literacy
• Visual Brainstorming
• Section Overview
• Visual Design
• Digital Images and Photography
• Digital Video and Storytelling

Guide Overview

This guide addresses the two kinds of visual literacy skills identified by Ann Marie Seward Barry in her book Visual Intelligence 

• Awareness of the logic, emotions, and attitudes suggested in visual messages
• The ability to produce meaningful images for communication to others. 

1. Introduction (what you are reading now) introduces the subject of visual literacy and why it is important, and presents an overview of this guide.

2. Learning and Visual Literacy  looks at  the relationships betweeen literacy, learning, and visual awareness. This helps us understand, critique, and learn from visual information. 

3. Visual Brainstorming is about creating something new. Visual brainstorming is a way of working with ideas visually and integrating them into new structures. 

4. Creating with Visual Media  is about using design techniques and tools for visual communication, including   

• Visual design elements and principles
• Digital images and photography
• Digital video and storytelling

5. Resouces and Links provides resources used in preparing this guide, as well as many additional resources and links, organized by topic. 

The guide follows a general sequence that reflects a creative process: first experiencing and learning from images or others, then using visual thinking to develop new ideas, and finally using tools to create and communicate. 

Some topics are likely to be more relevant to your needs than others. For example, visual brainstorming is unlikely to be necessary before doing a photo shoot (although in some cases it may be useful!). Use whatever is most relevant to you. 

 Welcome!   The following map is an overview of this guide.

In "Visual Literacy: An Institutional Imperative "   (2006), Susan E. Metros and Kristina Woolsey write: >

Academics have a long history of claiming and defending the superiority of verbal over visual for representing knowledge ...  however, in the last decade, digital technologies have broken down the barriers between words and pictures, and many of these same academics are now willing to acknowledge that melding text with image constructs new meaning."

Metros adds that in a freshman class she taught, "although these students were indeed visual learners and traveled seamlessly in a world rich with sight (and sound), they lacked the ability to express themselves visually."

According to the  Association of College and Research Libraries (ACRL) ,

Today's society is highly visual, and visual imagery is no longer supplemental to other forms of information. New digital technologies have made it possible for almost anyone to create and share visual media. Yet the pervasiveness of images and visual media does not necessarily mean that individuals are able to critically view, use, and produce visual content. Individuals must develop these essential skills in order to engage capably in a visually-oriented society. 

As a first step towards becoming visually literate, we need to become more aware of the images we are exposed to and to reflect on how they affect us.  A second step is in learning to use images (and create new ones) in order to create new knowledge. >

There are many ways of looking at visual literacy. Definitions from educators, designers, photographers, video editors and producers are likely to reflect their own somewhat differing perspectives.

One approach to defining literacies is to identify a set of skills, or standards. A broad set of Visual Literacy Competency Standards for for Higher Education  provided by the Association of College and Research Libraries (ACRL) encompasses many aspects of visual literacy.

The ACRL standards are listed below, along with the sections of this guide relevant to each. The standards encompass a wide range of topics, and no single resource can cover all of them in depth. This guide does not explicitly address standards #2 and #7, so other resources for are given for them.*

Here is a  visual map of the ACRL visual literacy standards  (opens in a new window). The map is also included the References section of this guide. 

* See the Resources section for a much more extensive list of important resources about many aspects of visual literacy.

Guide Contents

Learning and visual literacy

Visual brainstorming

Creating with visual media    –  Visual design    –  Images and photography    –  Video and storytelling

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• Last Updated: May 10, 2024 5:39 PM
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What is Visual Literacy?

The basic definition of visual literacy is the ability to read, write and create visual images. It is a concept that relates to art and design but it also has much wider applications. Visual literacy is about language, communication and interaction. Visual media is a linguistic tool with which we communicate, exchange ideas and navigate our complex world.

The term “visual literacy” was defined in 1969 by John Debes, the founder of the International Visual Literacy Association, as:

“Visual Literacy refers to a group of vision-competencies a human being can develop by seeing and at the same time having and integrating other sensory experiences. The development of these competencies is fundamental to normal human learning. When developed, they enable a visually literate person to discriminate and interpret the visible actions, objects, symbols, natural or man-made, that he encounters in his environment. Through the creative use of these competencies, he is able to communicate with others. Through the appreciative use of these competencies, he is able to comprehend and enjoy the masterworks of visual communication.” – John Debes, 1969

Since this definition by Debes, researchers and practitioners have re-defined ever more complex definitions that reflect the breadth of its applications. The term itself takes on different meanings in different contexts and you will therefore encounter new ideas in education, science, graphic design, art, technology, philosophy and so on.

Visual literacy is, by nature, an organic concept that requires us to continually define and re-define its meaning as our world changes. Digital technology has greatly impacted our understanding of visual literacy as we now see children growing up with tablets and computers and what appears to be highly developed visual literacy instincts. But are they instincts, or are they picking up this new ‘language’ as a result of their interactions with digital technologies? These, and many more, are the questions that we ask and explore on this website. We welcome you to put forth your own definition of visual literacy so that our collective knowledge can continue to inform progress in this important field.

Kristen Harrison, Founding Editor

ACRL Visual Literacy Competency Standards for Higher Education

Approved by the ACRL Board of Directors, October 2011

Superseded by Companion Document to the ACRL Framework for Information Literacy for Higher Education: Visual Literacy (April 2022)

Introduction

The importance of images and visual media in contemporary culture is changing what it means to be literate in the 21st century. Today's society is highly visual, and visual imagery is no longer supplemental to other forms of information. New digital technologies have made it possible for almost anyone to create and share visual media. Yet the pervasiveness of images and visual media does not necessarily mean that individuals are able to critically view, use, and produce visual content. Individuals must develop these essential skills in order to engage capably in a visually-oriented society. Visual literacy empowers individuals to participate fully in a visual culture.

Visual Literacy Defined

Visual literacy is a set of abilities that enables an individual to effectively find, interpret, evaluate, use, and create images and visual media. Visual literacy skills equip a learner to understand and analyze the contextual, cultural, ethical, aesthetic, intellectual, and technical components involved in the production and use of visual materials. A visually literate individual is both a critical consumer of visual media and a competent contributor to a body of shared knowledge and culture.

In an interdisciplinary, higher education environment, a visually literate individual is able to:

• Determine the nature and extent of the visual materials needed
• Find and access needed images and visual media effectively and efficiently
• Interpret and analyze the meanings of images and visual media
• Evaluate images and their sources
• Use images and visual media effectively
• Design and create meaningful images and visual media
• Understand many of the ethical, legal, social, and economic issues surrounding the creation and use of images and visual media, and access and use visual materials ethically

Visual Literacy and Higher Education

Across disciplines, students engage with images and visual materials throughout the course of their education. Although students are expected to understand, use, and create images in academic work, they are not always prepared to do so. Scholarly work with images requires research, interpretation, analysis, and evaluation skills specific to visual materials. These abilities cannot be taken for granted and need to be taught, supported, and integrated into the curriculum.

Notably, some K-12 and higher education standards include visual literacy as one of several key literacies needed for success in contemporary society. 1 Many discussions of transliteracy, metaliteracy, and multimodal literacy also include visual literacy among the literacies important for today’s learners. A diverse body of literature on visual literacy and visual studies also exists. Yet standards outlining student learning outcomes around interdisciplinary visual literacy in higher education have not been articulated. The Visual Literacy Competency Standards for Higher Education addresses this gap in the literature and provides tools for educators seeking to pursue visual literacy with college and university students.

The Visual Literacy Competency Standards for Higher Education establish an intellectual framework and structure to facilitate the development of skills and competencies required for students to engage with images in an academic environment, and critically use and produce visual media throughout their professional lives. The Standards articulate observable learning outcomes that can be taught and assessed, supporting efforts to develop measurable improvements in student visual literacy. In addition to providing tools for educators across disciplines, the Standards offer a common language for discussing student use of visual materials in academic work and beyond.

Visual Literacy and Information Literacy

The Visual Literacy Standards were developed in the context of the Information Literacy Competency Standards for Higher Education , and are intended to complement the Information Literacy Standards . The Visual Literacy Standards address some of the unique issues presented by visual materials. Images often function as information, but they are also aesthetic and creative objects that require additional levels of interpretation and analysis. Finding visual materials in text-based environments requires specific types of research skills. The use, sharing, and reproduction of visual materials also raise particular ethical and legal considerations. The Standards address these distinct characteristics of images and visual media and challenge students to develop a combination of abilities related to information literacy, visual communication, interpretation, and technology and digital media use.

Implementation and Use of the Standards

The Standards may be used as a whole, or in part, depending on curricular needs and overall learning goals of a program or institution. A visual studies course or a year-long series of courses involving visual materials may be an appropriate context for full implementation of the Standards . In other circumstances, the individual standards may be more useful as stand-alone tools for teaching and assessing specific sets of learning outcomes. Depending on the assignment or project, it is possible that two or three of the standards would be applicable and useful, but the remaining standards would not be relevant. Implementation of the Standards may also vary across disciplines, depending on how visual materials are used in that discipline. Individual disciplines may choose to articulate additional discipline-specific visual literacy learning outcomes.

The Standards follow a linear structure, but it is understood that student information behavior is iterative. 2 Students may search, interpret, and evaluate simultaneously. Appropriate learning outcomes may be employed as needed, and visual literacy learning may not necessarily follow a progression from Standard 1 to Standard 7.

Visual literacy education is typically a collaborative endeavor, involving faculty, librarians, curators, archivists, visual resources professionals, and learning technologists. Integrating visual literacy into the curriculum requires partnerships and shared implementation strategies across academic departments and units. Libraries play an important role in this process by selecting and providing quality image resources, developing research and subject guides for images, teaching image research strategies, and raising awareness of the ethical use of visual media. Libraries are also established partners in working with students to develop the critical thinking and evaluation skills essential to participation in visual culture.

The accessibility of visual materials and the needs of differently abled individuals, including visually impaired students, is an important consideration in visual literacy instruction and Standards implementation. Adaptive or assistive technologies, such as audio descriptions of visual materials or multimodal access to visual media, could be components of an accessibility strategy for visual materials.

Standards Development Process

The Visual Literacy Competency Standards were collaboratively written by the members of the Visual Literacy Standards Task Force (VLTF), using the Information Literacy Competency Standards as a foundational document. In March 2010, the ACRL Information Literacy Standards Committee gave support to the ACRL Image Resources Interest Group’s (IRIG) proposal to develop Visual Literacy Competency Standards. The Visual Literacy Standards Task Force reviewed the visual literacy and standards literature and developed a public bibliography in Zotero; appointed an Advisory Group comprised of librarians, technologists, curators, and administrators; created a blog for communication and community engagement; conducted open meetings and discussion groups; and engaged in outreach with multiple organizations. The first public draft of the Standards was distributed in February 2011.

• Two of these standards are Standards for the 21st-Century Learner, American Association of School Librarians , 2007; and NCTE Framework for 21st Century Curriculum and Assessment, National Council of Teachers of English, 2008, http://www.ncte.org/library/NCTEFiles/Resources/Positions/Framework_21stCent_Curr_Assessment.pdf .
• Head, Alison J. and Michael B. Eisenberg. Truth be Told: How College Students Evaluate and Use Information in the Digital Age . Project Information Literacy, Information School, University of Washington, 2010.

Standards, Performance Indicators, and Learning Outcomes

Standard one.

The visually literate student determines the nature and extent of the visual materials needed.

Performance Indicators:

1. The visually literate student defines and articulates the need for an image.

Learning Outcomes:

a. Defines the purpose of the image within the project (e.g., illustration, evidence, primary source, focus of analysis, critique, commentary) b. Defines the scope (e.g., reach, audience) and environment (e.g., academic environment, open web) of the planned image use c. Articulates criteria that need to be met by the image (e.g., subject, pictorial content, color, resolution, specific item) d. Identifies key concepts and terms that describe the needed image e. Identifies discipline-specific conventions for image use

2. The visually literate student identifies a variety of image sources, materials, and types.

a. Explores image sources to increase familiarity with available images and generate ideas for relevant image content b. Investigates the scope, content, and potential usefulness of a range of image sources and formats (e.g., digital, print, subscription databases, open web, books or articles, repositories, personal creations) c. Identifies different image and visual media types and materials (e.g., paintings, prints, photographs, born-digital images, data models) d. Articulates ways images can be used to communicate data and information (e.g., charts, graphs, maps, diagrams, models, renderings, elevations) e. Recognizes that existing images can be modified or repurposed to produce new visual content

Standard Two

The visually literate student finds and accesses needed images and visual media effectively and efficiently.

Performance indicators:

1. The visually literate student selects the most appropriate sources and retrieval systems for finding and accessing needed images and visual media.

a. Identifies interdisciplinary and discipline-specific image sources b. Articulates the advantages and disadvantages of various types of image sources and retrieval systems c. Recognizes how the image search process is affected by image rights and use restrictions d. Uses specialized online or in-person services to select image sources (e.g., online research guides, image and reference librarians, curators, archivists, disciplinary experts) e. Selects the most appropriate image sources for the current project

2. The visually literate student conducts effective image searches.

a. Develops a search strategy appropriate to the image need and aligned with available resources b. Recognizes the role of textual information in providing access to image content, and identifies types of textual information and metadata typically associated with images (e.g., captions or other descriptions, personal or user-generated tags, creator information, repository names, title keywords, descriptions of visual content) c. Recognizes that images are often organized differently than text-based information and that this affects the way images can be accessed (e.g., absence of full-text search, variations in controlled vocabularies, lack of subject terms) d. Identifies keywords, synonyms, and related terms for the image needed, and maps those terms to the vocabulary used in the image source e. Uses images to find other images through exploration, social linking, visual search engines, or browsing f. Performs image and topical research concurrently, with each informing the other in an iterative resource-gathering process g. Assesses the quality, quantity, and appropriateness of images retrieved, and revises the search strategy as necessary

3. The visually literate student acquires and organizes images and source information.

a. Retrieves or reproduces the needed image using appropriate technologies or systems (e.g., download functions, copy and paste, scanning, cameras) b. Accesses physical objects as needed to support the image research objective (e.g., site visits to archives, repositories, museums, galleries, libraries) c. Organizes images and the information that accompanies them for personal retrieval, reuse, and scholarly citation

Standard Three

The visually literate student interprets and analyzes the meanings of images and visual media.

1. The visually literate student identifies information relevant to an image’s meaning.

a. Looks carefully at an image and observes content and physical details b. Reads captions, metadata, and accompanying text to learn about an image c. Identifies the subject of an image d. Examines the relationships of images to each other and uses related images to inform interpretation e. Recognizes when more information about an image is needed, develops questions for further research, and conducts additional research as appropriate

2. The visually literate student situates an image in its cultural, social, and historical contexts.

a. Describes cultural and historical factors relevant to the production of an image (e.g., time period, geography, economic conditions, political structures, social practices) b. Examines the purposes and meanings of an image in its original context c. Explores choices made in the production of an image to construct meaning or influence interpretation (e.g., framing, composition, included or excluded elements, staging) d. Describes the intended audience for an image e. Explores representations of gender, ethnicity, and other cultural or social identifiers in images f. Investigates how the audience, context, and interpretation of an image may have changed over time

3. The visually literate student identifies the physical, technical, and design components of an image.

a. Describes pictorial, graphic, and aesthetic elements of an image (e.g., color, composition, line, shape, contrast, repetition, style) b. Identifies techniques, technologies, or materials used in the production of an image c. Determines whether an image is an original or a reproduction d. Examines an image for signs of editing, alteration, or manipulation (e.g., cropping, color correction, image enhancements)

4. The visually literate student validates interpretation and analysis of images through discourse with others.

a. Participates in classroom and other discussions about images b. Seeks expert and scholarly opinion about images, including information and analysis found in reference sources and scholarly publications c. Informs analysis with discipline-specific perspectives and approaches

Standard Four

The visually literate student evaluates images and their sources.

1. The visually literate student evaluates the effectiveness and reliability of images as visual communications.

a. Evaluates how effectively an image achieves a specific purpose b. Assesses the appropriateness and impact of the visual message for the intended audience c. Critiques persuasive or manipulative strategies that may have been used in image production to influence interpretation d. Evaluates the use of visual signs, symbols, and conventions to convey meaning e. Analyzes the effect of image editing or manipulation on the meaning and reliability of the image f. Determines the accuracy and reliability of graphical representations of data (e.g., charts, graphs, data models) g. Evaluates images using disciplinary criteria

2. The visually literate student evaluates the aesthetic and technical characteristics of images.

a. Evaluates the aesthetic and design characteristics of images (e.g., use of color, composition, line, shape, contrast, repetition, style) b. Evaluates the technical characteristics of images (e.g., resolution, size, clarity, file format) c. Evaluates the quality of image reproductions, based on indicators such as color accuracy, resolution, manipulation levels, and comparison to other reproductions

3. The visually literate student evaluates textual information accompanying images.

a. Evaluates information that accompanies images for accuracy, reliability, currency, and completeness b. Uses observation of visual content to evaluate textual information c. Verifies information that accompanies images by consulting multiple sources and conducting research as necessary

4. The visually literate student makes judgments about the reliability and accuracy of image sources.

a. Assesses reliability and accuracy of image sources based on evaluations of authority, and point of view or bias b. Makes judgments about image sources based on evaluations of image and information quality c. Critiques how an image source may create a new context for an image and thereby change its meaning

Standard Five

The visually literate student uses images and visual media effectively.

1. The visually literate student uses images effectively for different purposes.

a. Plans for strategic use of images and visual media within a project b. Selects appropriate images and visual media aligned with a project’s purpose c. Integrates images into projects purposefully, considering meaning, aesthetic criteria, visual impact, and audience d. Uses images for a variety of purposes (e.g., as illustrations, evidence, visual models, primary sources, focus of analysis) e. Uses images for subject-specific and interdisciplinary research, communication, and learning

2. The visually literate student uses technology effectively to work with images.

a. Uses appropriate editing, presentation, communication, storage, and media tools and applications to prepare and work with images b. Determines image file format, size, and resolution requirements for a project, and converts images accordingly c. Edits images as appropriate for quality, layout, and display (e.g., cropping, color, contrast)

3. The visually literate student uses problem solving, creativity, and experimentation to incorporate images into scholarly projects.

a. Experiments with different ways of integrating images into academic work b. Uses visual thinking skills to clarify and solve problems

4. The visually literate student communicates effectively with and about images.

a. Writes clearly about images for different purposes (e.g., description, analysis, evaluation) b. Presents images effectively, considering meaning, aesthetic criteria, visual impact, rhetorical impact, and audience c. Discusses images critically with other individuals, expressing ideas, conveying meaning, and validating arguments d. Includes textual information as needed to convey an image’s meaning (e.g., using captions, referencing figures in a text, incorporating keys or legends) e. Reflects on the effectiveness of own visual communications and use of images

Standard Six

The visually literate student designs and creates meaningful images and visual media.

1. The visually literate student produces visual materials for a range of projects and scholarly uses.

a. Creates images and visual media to represent and communicate concepts, narratives, and arguments (e.g., concept maps, presentations, storyboards, posters) b. Constructs accurate and appropriate graphic representations of data and information (e.g., charts, maps, graphs, models) c. Produces images and visual media for a defined audience d. Aligns visual content with the overall purpose of project

2. The visually literate student uses design strategies and creativity in image and visual media production.

a. Plans visual style and design in relation to project goals b. Uses aesthetic and design choices deliberately to enhance effective communication and convey meaning c. Uses creativity to incorporate existing image content into new visual products

3. The visually literate student uses a variety of tools and technologies to produce images and visual media.

a. Experiments with image-production tools and technologies b. Identifies the best tools and technologies for creating the visual product c. Develops proficiency with a range of tools and technologies for creating images and visual media

4. The visually literate student evaluates personally created visual products.

a. Evaluates personally created visual products based on project goals b. Evaluates personally created visual products based on disciplinary criteria and conventions c. Reflects on the role of personally created visual products as a meaningful contribution to research, learning, or communication d. Validates personally created visual products through discourse with others e. Revises personally created visual products based on evaluation

Standard Seven

The visually literate student understands many of the ethical, legal, social, and economic issues surrounding the creation and use of images and visual media, and accesses and uses visual materials ethically.

1. The visually literate student understands many of the ethical, legal, social, and economic issues surrounding images and visual media.

a. Develops familiarity with concepts and issues of intellectual property, copyright, and fair use as they apply to image content b. Develops familiarity with typical license restrictions prescribing appropriate image use c. Recognizes one’s own intellectual property rights as an image creator d. Identifies issues of privacy, ethics, and safety involved with creating, using, and sharing images e. Explores issues surrounding image censorship

2. The visually literate student follows ethical and legal best practices when accessing, using, and creating images.

a. Identifies institutional (e.g., museums, educational institutions) policies on access to image resources, and follows legal and ethical best practices b. Tracks copyright and use restrictions when images are reproduced, altered, converted to different formats, or disseminated to new contexts c. States rights and attribution information when disseminating personally created images

3. The visually literate student cites images and visual media in papers, presentations, and projects.

a. Gives attribution to image creators in citations and credit statements to acknowledge authorship and author rights b. Includes source information in citations and credit statements so visual materials can be reliably found and accessed by other scholars and researchers c. Cites visual materials using an appropriate documentation style

Appendix 1: Sources and Bibliography

In preparing the Standards , the Task Force consulted a broad range of literature on visual literacy, related literacies, and education standards. The complete bibliography consulted is publicly available in the ACRL/IRIG Visual Literacy Bibliography in Zotero ( http://www.zotero.org/groups/acrl_irig_visual_literacy_bibliography ).

Key Sources:

Bamford, Anne. The Visual Literacy White Paper . Adobe Systems Pty Ltd, Australia, 2003. http://www.adobe.com/uk/education/pdf/adobe_visual_literacy_paper.pdf .

Choi, Youngok. “Effects of Contextual Factors on Image Searching on the Web.” Journal of the American Society for Information Science and Technology 61, no. 10 (2010): 2011-2028.

Green, David. Using Digital Images in Teaching and Learning: Perspectives from Liberal Arts Institutions . Academic Commons, 2006.

Information Literacy Competency Standards for Higher Education . Association of College & Research Libraries, 2000.

Nixon, Andrea Lisa, Heather Tompkins, and Paula Lackie. Curricular Uses of Visual Materials: A Mixed-Method Institutional Study . Carleton College, Dean of the College Office, 2008. http://apps.carleton.edu/curricular/support/assets/CUVMFinal.PDF .

Visual Literacy Standards Task Force (VLTF)

Denise Hattwig, Chair University of Washington

Joanna Burgess Reed College

Kaila Bussert Cornell University

Ann Medaille University of Nevada, Reno

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Visual Literacy: Applying Information Literacy to Visual Materials

Louis was recently hired as an office assistant for an advertising firm. His first project is to create a presentation to describe the firm’s services to potential clients. His boss specified that it should be as visual as possible and be designed for a large projector screen. If the firm likes the work, it will be adapted into both a website and a printed pamphlet. Louis has some experience with creating PowerPoint presentations for school and has used Pinterest and other image-related tools, so he figures this will be a piece of cake.

Introduction

This chapter is different from most of the others in this textbook, in that it does not focus on one particular aspect or pillar of information literacy. Instead, it looks at a specific area of information literacy: visual literacy. So, while each of the previous chapters looked closely at only one pillar, this chapter will look at each pillar as it relates to the field of visual literacy.

Visual literacy has never been more critical. The Association of College and Research Libraries states,

The importance of images and visual media in contemporary culture is changing what it means to be literate in the 21st century. Today’s society is highly visual, and visual imagery is no longer supplemental to other forms of information. New digital technologies have made it possible for almost anyone to create and share visual media. Yet the pervasiveness of images and visual media does not necessarily mean that individuals are able to critically view, use, and produce visual content. Individuals must develop these essential skills in order to engage capably in a visually-oriented society. Visual literacy empowers individuals to participate fully in a visual culture. [1]

Currently, most models of information literacy do not include visual literacy elements. Emerging models such as transliteracy and metaliteracy do incorporate aspects of visual literacy, but these models have not yet become mainstream information literacy approaches. Because of this gap, the authors of this textbook agreed on the need for a separate chapter dedicated to the subject.

A note on the lack of images in this chapter: You may find it surprising that the chapter about visual communication has very few pictures. This has to do with the high level of copyright restriction for publishing images; unlike text, one cannot quote a visual work and simply cite it without permission (more on this later). We requested consent to use several of the images referenced in this chapter, but at the time of publication, the permissions were not yet granted. The images we do use are within the public domain, and links and references have been provided for others so that you can view the images’ external sources.

Definition of Visual Literacy

Visual literacy is the ability to identify, gather, evaluate, manage, use, create, and share visual material in an effective, ethical, and self-aware manner. Over the years, individual disciplines have created widely varying definitions that emphasize only one particular aspect of visual literacy. This chapter aims to take the broadest possible view, using an inclusive definition that can be applied to any field.

Brief History of the Term

The history of visual communication goes back to the cave paintings 30,000 years ago; the description of it only 2,500 years. . . . Visual literacy is 2,500 years old (as a skill) and 30 years young (as a term). [2]

The idea of visual literacy is not new. Using images to communicate precedes the use of text by many thousands of years. Discussions about the concept of visual language have been around for quite a while as well. Perhaps most famously, Sir Francis Bacon discussed visual literacy in the 1600s. [3]  Subsequent scholars in areas ranging from art history and appreciation to philosophy and psychology have continued to grapple with the concept. The field of photography has a long relationship with visual literacy. Henry Holmes Smith, an author and professor of photography at Indiana University in the 1950s, is credited with coining the term visual literacy. [4]  Smith described it as “a visual language, one that probably cannot be taught until it is codified. . . . I can hardly wait to read some general principles on picture reading.” [5]

Several years later, in 1969, a group of scholars and artists from a wide range of disciplines founded the International Visual Literacy Association, bringing the concept and the term into the mainstream. IVLA continues to be the standard bearer for visual literacy, publishing a journal and sponsoring an annual international conference.

Value of Visual Literacy

If students aren’t taught the language of sound and images, shouldn’t they be considered as illiterate as if they left college without being able to read or write? —George Lucas [6]

We live in an increasingly visual society. Since the creation of the computer desktop icon, there has been an exponential shift toward communicating with images. Whether for research, employment, or social interaction, visual literacy has never been more important. It is especially critical in the workplace, and will only become more so. Increased visual literacy also makes us smarter! Studies have shown that becoming more visually literate leads to greater overall intelligence and is correlated to greater performance in technical areas. [7]

Use of images has advantages for communication as well. One study found that humans process visual images several thousand times faster than text, [8]  while other research has shown that information conveyed with images is more intuitively understood and better recalled. [9]  Visual literacy is also unusual in its ability to span cultures and languages in a way that text does not. [10]  It is also remarkably conducive to metacognition. Literary theorist John Zuern states,

Visual materials engage us in a dialogue with those ideas out of which we gain an understanding based less on memorization and mastery than on critical, intellectually supple inquiry. Moreover, visualization can spark invaluable ‘ah-ha’ experiences that push learners’ understanding of concepts beyond an instrumental ‘application’ of ideas in a particular discipline . . . and open them to philosophical reflection on their own social, cultural, and political lives. [11]

A well-known example of this is the photograph, Flower Power , taken by Bernie Boston in 1967. This is the famous image of a Vietnam War protester placing a flower in the barrel of a rifle held by a soldier. For many, this photograph came to symbolize the national divide between those who were for and against the war, in ways that no amount of words could. [12]  Many feel that the increase of photojournalism during this era was a significant catalyst in changing public opinion and speeding the United States’ withdrawal from Vietnam. [13]

Visual Communication Challenges

Many think, as Louis first does, that we are all naturally skilled in visual literacy. But visual communication is in fact more difficult to learn and use than text. Part of this difficulty is related to the subtleties of visual communication. Whereas we know whether we can read a given word, it is easy to unwittingly misread an image. It is also much harder to copy or create images than letters. [14]  Using visual imagery to communicate a specific message is not simply a matter of a clear substitution of images for words, but is instead a complex process with no agreed-upon rules. Standards of image use and interpretation vary by discipline and there is no singular alphabet or grammar. [15]  So, becoming visually literate involves not only learning how to find and use images but also understanding the range of meanings they may have in different contexts. [16]

With this in mind, let’s check in to see how Louis is doing.

At first things went smoothly. Louis created a basic presentation and then looked online for pictures to add. He found many websites that had most of the images he was looking for and he was able to copy and paste from these sites into his presentation. But now he is having some trouble. For one thing, some of the images don’t look great when he zooms in, and he is worried about projecting them. Also, he would like to be able to change some of the images by adjusting brightness and colors and, for one, he wants to take out the background. Finally, he feels that the presentation is still pretty boring: there are a lot of facts and figures to share, and the slides are filled with lists and tables of data. He is sure there are tools to improve all of these issues, and probably places to look for examples, but he doesn’t know where to start.

Applying the Seven Pillars

This pillar focuses on understanding one’s information needs so that a research question or goal can be formulated. What does this look like when applied to visual literacy? Let’s start with Louis. He needs visual materials for a business presentation. This sounds simple, but there are many important details that he did not stop to consider. He needs to consider the audience: what is their culture? Is there a specific dialect of images—certain logos or symbols that have special meaning? Are there images to avoid because of their particular meaning either within the company or the broader industry? The intent is also important. In this case, the purpose is both to inform and persuade; each will influence which images are chosen and how they are used. There are also technical aspects: the presentation will be given in multiple formats, each with its own set of best practices and considerations. This includes ethical and legal aspects, which vary depending on the purpose and venue, and should especially be considered for any commercial use of images.

Based on these factors, Louis’ research goal seems to be: find images in a variety of formats and resolutions that he can legally use for both in-house and public marketing. In general, tools for this stage can include subject manuals and magazines, websites of peer organizations, previous publications created by the institution one is working for, as well as relevant physical spaces. For Louis, it would make sense to look at the company website and all other materials, any previous presentations used, the product itself, the company offices (including architecture and even dress codes), as well as competitors’ work.

This pillar centers on knowing your own knowledge and gaps, and being aware of what information is available. For visual literacy, this starts with your current ability to find and create images, and your awareness of what tools are available for these tasks. Finding and creating aren’t just digital skills, but can include looking through magazines and books, creating collages, taking photographs, drawing, and more. Knowledge of available resources includes knowing where to discover more material, a process greatly aided by knowing your own gaps in knowledge and experience. In Louis’ case, he knows that he does not have photo editing skills. This knowledge will help him direct and focus his search: he needs to either find images that don’t need adjusting or he has to find and learn how to use photo editing tools. The awareness that images can be altered is also a critical aspect of the scope of visual literacy. Besides knowledge of tools, it is critical to know what types of images exist, what their particular qualities are, and how these influence usability and accessibility. Specific examples include photographs, paintings, videos, cartoons, and icons, to name a few. Also, one should discover existing formats and their differences and advantages. There are numerous physical and digital formats each with distinct and important differences in resolution, size, adaptability, and accessibility. [17]

Many resources are available to assist with this stage of the process. There are countless physical and digital image repositories, including libraries, museums, galleries, and websites such as Picasa, Flickr, Pinterest, and many more. And, there are just as many tools for manipulating visual materials, including paint, scissors, scanners, software such as Photoshop, and several excellent programs that can be used online or downloaded for free. It is also possible to find classes offering help in using these tools, frequently offered by area schools, libraries, or community centers.

Exercise: Observing the Visual Landscape

Go to Google Images and study the results for searches using each of these terms:

Now, reflect upon what you found:

• What patterns did you notice?
• What assumptions underlie, or are promoted by, these images?
• How do you think Google Images finds the pictures?

This pillar involves choosing the best search tools and developing effective search strategies. Plan is closely related to the Gather pillar described next: you will find yourself going back and forth between these two pillars in the course of your research. In the gathering stage, as you enact the strategies you formulated in the planning stage, you will naturally find yourself revising your strategies and creating new plans. In this chapter, we will focus on the thinking components of Plan and the action elements of Gather. For Plan, concerns specific to visual literacy begin with knowing where to look for various types of visual materials. In addition to the previously mentioned sites, there are excellent dedicated image collections available through the Library of Congress, New York Public Library, and ARTstor (which requires a subscription). It is important to keep in mind that most of these images are NOT copyright free; they cannot be freely used for some purposes without permission. Several online resources do exist for images that are free to use (with attribution), even for commercial purposes. Some standouts include Stockfreeimages, Openphoto, Imageafter, as well as Pixelperfectdigital and Morguefile, which all have excellent advanced search options. Flickr also offers an advanced search that has the added feature of allowing you to view only images with Creative Commons licenses supporting reuse. For classical art, two good online resources are Art Resource (which displays artworks from hundreds of museums around the world) and Web Gallery of Art (notable for its many high-resolution images).

Image searching can be challenging because subject terms for images have not been standardized. Most sites don’t offer advanced searching, leaving it up to the researcher to find the best strategies. What works best for one repository often does not suit another, so part of this stage involves learning the internal logic of each resource. Thankfully, there are some techniques that allow for searching across several sites. Conducting a Google image search is currently the best method, due to Google’s excellent advanced search option that allows for limiting by size, format, usage rights, and more. Google also allows you to search using an image as your search term, which can be terrifically helpful since it bypasses the problem of variations in words used to describe images. This is a perfect example of visual literacy: using one image to describe another image! This method can also be used to find information about an image you have, such as the species of a bird you photographed or the artist for a particular painting. [18]

Before we proceed, let’s check in again with Louis.

Louis has decided to start fresh. He realizes that his project should focus on a clear goal, and that he wants to find images that clearly communicate his topic right from the beginning of his presentation—rather than adding them at the end as an afterthought. Knowing that he has limited experience in manipulating images, he attends a free Photoshop course taught at a local library. There, he learns some basic editing skills, as well as the differences between formats such as JPG and PNG, and what sizes and resolutions work best for different purposes. Armed with this new knowledge, Louis identifies several online image repositories that he plans to use. Once he finds the most appropriate images, he will download them and possibly alter some to better suit his needs. His next step is to start searching for and downloading images.

This pillar concentrates on using the strategies outlined in the planning stage to locate and access information. This is a particularly challenging process for visual literacy, although it may initially seem easy. While a vast amount of visual material is available online, and some good tools for finding it exist (as identified in Scope), conducting specific searches is quite difficult. Finding a precise image often requires hours of trial and error, and exploring multiple resources, and even when advanced searching is possible it may not yield the desired results. Often, descriptions for images are user-generated tags that lack consistency (even within a repository) and that change over time as new tags are added. This means that determining accuracy is quite difficult: is that actually a picture of Karl Marx, or is it Santa Claus as one tag says? Finding specific formats and resolutions is similarly challenging. For one, most images freely available online are not of high enough resolution or proper formats to be used for publications or large projections. And finding those that are is difficult because of inconsistencies in terminology. A few representative examples: JPG and JPEG are both used to describe the same format, while dpi and ppi are not the same but are often used interchangeably—and these are some of the most-used formats and considerations for digital images!

Accessing images is equally challenging, at multiple levels. There is a wide range of the level of accessibility for visual materials, from watermark-protected images for sale (and often requiring signup to access) to high-resolution images that are easily accessed and legally free for all to use (quite rare). Often, the difference between the two is not immediately apparent: pop-up screens demanding payment often appear only once you have searched for and selected an image that you want to use. Now, reading the previous sentences, you may have thought, “But I get images easily all the time! Flickr, Pinterest, Google Images: just Right-Click and it’s yours!” This brings us to the other key aspect of online image accessibility: copyright. While it is true that one can often easily and instantly download an image, this is almost always in violation of copyright. From an earlier example: if you search online for Flower Power Bernie Boston , you will find links to hundreds of webpages posting this photograph. Most of these sites are doing so illegally, without permission of the copyright holder, which in this case is the Worcester Art Museum. Many websites seem specifically designed for open use, such as Pinterest, but nearly all of the postings are illegal while being firmly within the site’s stated intent. [19]  For images, it is often up to the researcher to make sure he or she is on ethical and legal solid ground. We will discuss this further in the sections on managing and presenting.

For visual materials, another important aspect of access involves saving copies. Because you will often want to use an actual image, rather than merely quoting or referencing it as you might a text, it will be necessary to have a copy of the image to use. This could mean a photocopy, scan, tracing, hand drawing, photograph, or, more often, a digital reproduction. Besides knowing how to copy or save an image, it is important to have a detailed record of its source. This can help you find the original image again later and has other benefits we will discuss in the Gather and Present sections of this chapter. You will also need an accurate citation to include with the image in your final product.

This pillar focuses on the evaluation of information in an ongoing review of one’s research process. Key elements related to visual literacy include determining quality, bias, and accuracy, as these are all especially tricky to determine for visual materials.

Quality in this case refers both to the substantive value and the visual strength of an image. An example to demonstrate the difference between the two: a deer crossing sign is quickly and universally understood (high substantive value), but does not achieve its purpose if it is faded (low visual strength). Evaluating for substantive value is as important for visual materials as any other resource type and involves many of the same considerations, including looking critically at key elements and identifying subjects, relationships, context, and purpose (including intended audience). Visual strength is equally important and includes such qualities as brightness, clarity, contrast, hue, and saturation. These are important elements to consider both for evaluation and image creation. The size and format of an image also affect visual strength since what looks good in one venue may not in another; that wallet size photo of your sweetheart will probably be quite grainy if you make it into a poster. Some of these factors will be immediately apparent, as with the faded sign, but others require looking at the metadata for an image to determine file type, image size (which is not the same as the displayed size), resolution, and more. Legality is another key area of quality to assess. Who is allowed to use this image and for what purposes? There is a wide range of possible permissions and it is critical to determine whether your intended use is permitted. Many people have been sued—and fined or even jailed—for using images outside of a creator’s intent. If you cannot determine what type of image reuse is allowed, you are better off not using the image.

Bias can be particularly hard to identify for images. Often it is not the image itself but its context or description that displays a bias. Sometimes it is what is not shown that reveals bias, as when something is cropped or left out of the frame for a specific intent. Other times the very fact of an image being used is revealing, as when the Danish newspaper Jyllands-Posten printed caricatures of Mohammed despite knowing this would be offensive to many Muslims. (In a remarkable added twist that highlights the many layers of visual literacy, when Yale University published a book about this incident it chose not to include any of the images.) [20]

Accuracy is especially important to consider when evaluating images, since they can be easily altered in ways quite difficult to detect and are also often incorrectly described. The first step in assessing for accuracy involves looking carefully to see whether an image is believable and whether the captions seem to match the contents. One should consider both internal consistency (Does it look right, without strange shadows or edges or elements that seem off?) and external probability (Is this depicting a plausible thing or event?). Look for areas that appear too perfect or appear to be exact replicas of another area; tool marks left by software such as an unnaturally straight line, or a sudden break in color. As with any resource, consider the source: who published the image and why? It is also important to examine the metadata, ranging from the written caption to the digital information hidden within the image. Is this information consistent with the image, are the dates and descriptions correct? If the image is not original and is being reused, is it properly cited? A warning sign that an image is not a reliable resource is when there is no citation but the visual material is clearly from some other source.

All evaluation should be done in relation to your research goal: the most critical concern should be whether an item fits in the project context. Evaluation can inform your research process, with the search both responding to and suggesting adjustments to the original research question or desired product. Similarly, it is important to critically appraise your own role in the process, looking for your own biases or habits that could limit results. Comparing your perceptions with others through discussion and mutual review can also be very revealing.

Exercise: Accuracy and Bias

Look closely at the following maps: what differences do you see?

Now, compare these maps to a current globe.

• Are all three equally accurate?
• What implied messages could be interpreted by some of the visualization choices made?
• The map on top is from 1942, and the bottom map is from 1999, both printed in the United States. How might these facts be reflected in the layout of each map?

This pillar relates to information management—organizing your findings to aid comprehension, preservation, and retrieval. As with any other area of information literacy, for visual literacy information management begins with collecting your materials. We discussed the importance of recording source information when copying or saving; at this stage you will want to make sure that information stays linked to the correct image. There are a number of ways to do this, ranging from including it in the file name (e.g., AnselAdamsYosemite.jpg) to simply pasting the image and its identifying information in a word document. Many image processing programs will allow you to embed this information within the image itself. Whatever method you use, it is essential to do so in a consistent manner to support effective organization. It is also very helpful to name images in descriptive and clear ways that distinguish them, such as YellowLightningBoltBlackBgrnd.png. Additionally, you may want to create folders for different subjects or image types.

Citation for visual materials can be tricky, but it is critical for both managing and presenting your findings. Using an established citation format facilitates organization of images both within a publication and also for your own use. It also maintains a connection of the source information to the image, which will be important when you want to use or reference the image later. It is important to be able to create a bibliography in at least one citation format, since both professors and publishers will require you to document your sources. There are several programs that work for textual and visual materials, to assist you with this process, as well as print and online guides specifically for image citation (one is linked in the Additional Resources list).

Another management tool that can be very useful is keeping a research journal or similar record of your process. Documenting where and how you sought information (including specific search terms and strategies) and what you found can be very helpful. A research journal can help you with future searching and also supports sharing your process and helping others with their research. Many of the best tools available today were created from a previous searcher recording and sharing their experience: there is nothing stopping you from contributing! Doing so also brings you into conversation with other scholars who can help you substantially improve your work.

Now let’s look again at what Louis is up to.

Because his work will be used commercially, Louis narrowed his search to only sites supporting this type of use. He performed focused searches for specific images, making sure they had high enough resolutions for large projection and could legally be reused commercially. He carefully evaluated each image for relevance to his project, and for accuracy, and originality. One image looked familiar, so he used it to do a reverse image search that revealed that the Flickr user who posted it was not, in fact, the image creator. The image was not free to use, so he wisely chose to exclude it from his presentation. He kept a running log of his process and recorded citations for each image that he collected. He also pasted a copy of each image into a Word document. He then made folders for different types of images and sorted the files in them by format type. He now has a searchable pool of images to use in creating his presentation.

This pillar focuses on summarizing, synthesizing, and communicating your work to others. This is the pillar with the widest range of connections to visual literacy. Many books have been dedicated to this topic alone. In this chapter we will highlight the central aspects of Present, and share some methods and tools you can use. As mentioned in the Present chapter, a fundamental aspect of this pillar is recognizing that we are all information creators. This is also true for visual communication, although we may not be as aware of our creator role in using visualized information. Have you ever used an emoticon? Created a doodle? Sent someone a photo you found online? Made a collage? All of these involve creation and imaginative reuse of images. These activities also require the ability to understand and communicate using visual language, which in many ways is the essence of visual literacy. [21]  Now let’s look at the basic components of Present.

Summarizing & Synthesizing

For visual materials, the line between summarizing and synthesizing is often blurred, because one often does both when presenting information visually. The act of visualization is itself a form of synthesis. It is important for you to be aware of what data came from where, and to note your own contributions, including your commentary (intended or not). It is very easy to forget a source and then fail to provide a citation, thinking all of the project is original work. You can also easily fail to recognize your own bias and believe your work is just an objective summary. For these reasons, we strongly recommended that you have others review your work and provide critical feedback before publication. Citations are also important for summarizing and synthesizing, because they will help with both remembering your sources and giving credit to the creators. However, as mentioned throughout this chapter, providing citations does not protect all or even most image reuse: always make sure to look carefully at the copyright information for any visual material.

Communicating

Communication begins with determining your purpose and then selecting images and presentation methods that best support your objectives. When you plan to use visual communication, it is helpful to work visually from the start and use tools designed for that purpose. Concept mapping is a widely used visualization method that involves drawing concepts and connections on paper (or a computer screen), which can be helpful in getting free of verbal/intellectual patterns and starting to think visually. In this process one often finds that a certain visual logic arises, an intuitive sense of arc and layout that guides what content is chosen and how it is used. This is an important stage, because it involves immersing yourself in the internal rules and logic of the world of images. [22]  These activities should align with the final research goal and take into account the purpose of the project. The character of your intended audience should inform presentation style and type, image selection and size, and color schemes, as well as the tools and processes you use for editing images. For instance, while you might show large cartoon images zooming around a circus-themed background when presenting to young children, this likely would not be the best way to reach a worker’s union. An added consideration that is often neglected is when not to use images. While visual communication is powerful, using an image to make every point may not be the best strategy: imagine learning that your partner is breaking up with you via emoticon and I’m sure you will agree. In any case, many excellent tools exist for every stage of presentation, ranging from concept mapping tools such as Bubbl.us and Mindomo to a vast array of editing and presenting tools. Some notable examples include presentation software such as PowerPoint and Prezi; timeline generators Dipity and Tiki-Toki; online photo editors Microsoft Publisher, Photoshop, Pixlr, and Splashup; and flexible and dynamic word cloud generators Wordle and Tagxedo.

Data visualization, which involves creating graphical displays of information or infographics , is another important area of visual communication. Using graphical displays is not new, but with many designers shifting from presenting information in traditional graphs and number tables to more inventive depictions in which every aspect including shapes and colors add significance, data visualization has recently gained significant traction. Infographics can be simple, such as pyramid-shaped graphs about ancient Egypt, or complex, multi-layered presentations such as the IVLA’s Periodic Table of Visualization Methods . The massive infographics on the Kulula Airlines fleet of airplanes is a wonderful and novel example of using data visualization. [23]  It is important to point out that it is easy to mislead with graphics, both intentionally or inadvertently. You should always check and re-check any infographic you develop for accuracy and bias. Soliciting external feedback can help you verify your work. (For a real-world example of misleading data visualization, go here .) As for the creation process, there are several helpful tools, including Microsoft Excel, Hohli Charts and Google Charts for making a variety of graphs; Gliffy for making flowcharts, Venn diagrams, etc.; and Visual.ly, Piktochart, and Infogr.am for making dynamic infographics.

An often overlooked component of presentation is the presenter him or herself. Many visual literacy scholars consider facial expression and body language to be key aspects of visual communication, [24]  with some including broader performance aspects such as object use and placement. [25]   How you present has significant impact. You should give careful thought to attire, stance, gestures, and expressions—especially when presenting to audiences of nationalities that may have different cultural associations from your own.

Exercise: Putting it All Together

• First, type out a thesis statement and three supporting arguments.
• Next, determine your audience.
• Now, using only images (which cannot contain text), demonstrate both your thesis statement and three supporting arguments. You can create images, use found images, or both.
• Each component can be either a single image (if this clearly communicates the thesis or argument) or a multimedia project (such as a Prezi) linking multiple images.
• Create correct citations for any image you did not create, using the APA or MLA style.
• Share your work by emailing it to a friend, using it for a class, or publishing it online in a blog or elsewhere.

Going Forward

Many believe that we are living in the most visual era yet, with today’s students being the most visually immersed generation the world has seen. Visual literacy has never been more critical, and is considered a key workplace skill [26]  viewed by employers as on par with the ability to read and write. [27]  Now, more than ever, it is critical to become aware of your own visual communication skills, to actively practice and improve them, and to create new work. There has never been a greater need, or potential, for creators to actively and ethically reach out and share their work with others. In this chapter, we have tried to give you an outline for using images, as well as some resources to help you on your way. We have walked, along with our friend Louis, through the landscape of visual literacy. You may wonder how everything worked out with him, but we intentionally left this open, because that question is for you to answer. Now it is your turn to go out and share your voice: there is a world waiting to be read and be visualized.

Select Quotations

Francis bacon.

Emblem…reduces intellectual conceptions to sensible images; for an object of sense always strikes the memory more forcibly and is more easily impressed upon it than an object of the intellect…And therefore you will more easily remember the image of a hunter pursuing a hare, of an apothecary arranging his boxes, of a pedant making a speech, of a boy repeating verses from memory, of a player acting on the stage, than the mere notions of invention, disposition, elocution, memory, and action. [28]

Henry Holmes Smith

Symbol systems and symbolic action constitute not only the greatest perils, but also the greatest hopes of mankind. [29]

Philip Yenawine

[Visual literacy] involves a set of skills ranging from simple identification—naming what one sees—to complex interpretation on contextual, metaphoric, and philosophical levels. Many aspects of cognition are called upon, such as personal association, questioning, speculating, analyzing, fact-finding, and categorizing. Objective understanding is the premise of much of this literacy, but subjective and affective aspects of knowing are equally important. [30]

‘Seeing is believing’ goes the old saying, but this axiom has never been less true than it is today. We live in an age where photos, video, and film can be digitally altered to represent any reality imaginable . . . so it has never been more important to acquire the intellectual skills necessary to distinguish between visual fact and fiction, information and manipulation, reporting and propaganda. [31]

Roger Fransecky and John Debes

When developed, [visual literacy skills] enable a visually literate person to discriminate and interpret the visible actions, objects, symbols, natural or man-made, that he encounters in his environment. Through the creative use of these competencies, he is able to communicate with others. Through the appreciative use of these competencies, he is able to comprehend and enjoy the masterworks of visual communication. [32]

Additional Resources

• A Periodic Table of Visualization Methods
• Columbia University’s Image Size and Resolution Guide
• David McCandless’ Ted Talk
• David McCandless’ Blog
• Edward Tufte’s Website
• Boston University’s Guide to Finding and Using Images
• Colgate University’s Image Citation Guide
• Christine L. Sundt’s Copyright & Art Pathfinder
• International Visual Literacy Association Website
• ACRL Visual Literacy Standards Graphic
• ACRL Visual Literacy Standards Website

Bibliography

Brill, Jennifer, Kim Dohun, and Robert Branch. “Visual Literacy Defined−The Results of a Delphi Study: Can IVLA (Operationally) Define Visual Literacy. Journal of Visual Literacy 27, no. 1 (2007): 47–60.

Brumberger, Eva. “Visual Literacy and the Digital Native: An Examination of the Millennial Learner.” Journal of Visual Literacy 30, no. 1 (2011): 19–47.

Christopherson, Jerry. “The Growing Need for Visual Literacy at the University.” In VisionQuest: Journeys Toward Visual Literacy, edited by Robert Griffin, J. Hunter, C. Schiffman, & W. Gibbs, 169–174. Philadelphia: International Visual Literacy Association, 1996.

Flynn, William. L. “Visual Literacy—A Way of Perceiving, Whose Time Has Come.” Audiovisual Instruction 17, no. 5 (1972): 41–42.

Hortin, John. “Visual Literacy and Visual Thinking.” In Contributions to the Study of Visual Literacy , edited by Lucile Burbank and Dennis Pett, 92–106. Philadelphia: International Visual Literacy Association, 1983.

Ipri, Tom. “Introducing Transliteracy: What Does it Mean to Academic Libraries?” College & Research Libraries News 71, no. 10 (2010): 532–567.

Jacobson, Trudi. “How Metaliteracy Changed My Life, My Teaching, and My Students’ Experiences.” Paper presented at the Academic Libraries 2012 Conference, Syracuse, NY. June 2012, http://www.nyla-asls.org/AcademicLibrariansConference/wp-content/uploads/2012/07/panel_presentation_public.pdf .

Lengler, Ralph, and Martin J. Eppler. “A Periodic Table of Visualization Methods.” Visual-Literacy.Org , http://www.visual-literacy.org/periodic_table/periodic_table.html .

Mackey, Thomas P., and Trudi E. Jacobson. “Reframing Information Literacy as a Metaliteracy. College & Research Libraries 72, no. 1 (2011): 62–78.

Newton, Julianne H. The Burden of Visual Truth: The Role of Photojournalism in Mediating Reality. Mahwah, NJ: Lawrence Erlbaum Associates, 2000.

Thomas, Sue, Chris Joseph, Jess Laccetti, Bruce Mason, Simon Mills, Simon Perril, and Kate Pullinqer “Transliteracy: Crossing Divides.” First Monday 12, no. 12, 2007. http://www.firstmonday.org/htbin/cgiwrap/bin/ojs/index.php/fm/index .

• Visual Literacy Task Force. “Visual Literacy Competency Standards for Higher Education.” College & Research Libraries News 73, no. 2 (2012): 97–104. ↵
• Velders, Teun. “The Roots of Visual Literacy: Reflections on an Historical Perspective.” Journal of Visual Literacy 20, no. 1(2000): 7. ↵
• Bacon, Francis. The Works of Francis Bacon. Vol. 4, Translations of the Philosophical Works . Edited by James Spedding, Robert Ellis, and Douglas Heath. London: Longman, 1857, 437. ↵
• Pett, Dennis. “One Person’s Perspective: History of the International Visual Literacy Association.” International Visual Literacy Association , 1988. http://ivla.org/drupal2/content/one-persons-perspective . ↵
• Smith, Henry Holmes, James Enyeart, and Nancy Solomon. Henry Holmes Smith: Collected Writings 1935–1985 . Tucson: Center for Creative Photography, University of Arizona, 1986. ↵
• Daly, James. “Life on the Screen: Visual Literacy in Education.” Edutopia , 2004. http://www.edutopia.org/lucas-visual-literacy . ↵
• Burmark, Lynell. Visual Literacy: Learn to See, See to Learn . Alexandria, VA: Association for Supervision and Curriculum Development, 2002 ; Messaris, Paul. Visual “Literacy”: Image, Mind, and Reality . Boulder: Westview Press, 1994. ↵
• Chen, Yih. “Design Features of Visual Symbols.” Audiovisual Instruction 17, no. 5 (1972): 22–24. ↵
• Zuern, John. “Diagram, Dialogue, Dialectic: Visual Explanations and Visual Rhetoric in the Teaching of Literary Theory.” In Visual Media in the Humanities: A Pedagogy of Representation , edited by Kecia Driver McBride, 47–73. Knoxville, TN: Univ. of Tennessee Press/Knoxville, 200 , 47–48. ↵
• Montogomery, David. “Flowers, Guns and an Iconic Snapshot.” Washington Post , March 18, 2007. http://www.washingtonpost.com . ↵
• Newman, Bruce. “Some Concerns about Pinterest.” Westchester County Business Journal 48, no. 9 2012):18. ↵
• Elkins, James. Visual Studies: A Skeptical Introduction . New York: Routledge, 2003. ↵
• Avgerinou, Maria, and John Ericson. “A Review of the Concept of Visual Literacy.” British Journal of Educational Technology 28 , no. 4 (1997): 280–291. ↵
• “What Resolution Should Your Images Be?” Media Center for Art History, Columbia University. http://learn.columbia.edu/mc/resources/documents/resolution-guide.pdf . ↵
• Klosowski, Thorin. “Clever Uses for Reverse Image Search.” Lifehacker (blog), April 16, 2013, http://lifehacker.com/clever-uses-for-reverse-image-search-473032092 . ↵
• Cohen, Patricia. “Yale Press Bans Images of Muhammad in New Book.” New York Times, August 13, 2009. ↵
• Arnheim, Rudolph. “Gestalt Psychology and Artistic Form.” In Aspects of Form: A Symposium on Form in Nature and Art, edited by Lancelot Whyte, 196–208. New York: Pellegrini & Cudahy, 1951. ↵
• Krum, Randy. “Infographic Airplane! From Kulula Airlines.” Cool Infographics (blog), February 19, 2008, http://www.coolinfographics.com/blog/2010/2/8/infographic-airplane-from-kulula-airlines.html . ↵
• Messaris, Paul. Visual “Literacy”: Image, Mind, and Reality . Boulder: Westview Press, 1994 ; Fransecky, Roger, and John Debes. Visual Literacy: A Way to Learn—a Way to Teach . Washington: Association for Educational Communications and Technology, 1972. ↵
• Debes, John. “The Loom of Visual Literacy: An Overview.” In Proceedings: First National Conference on Visual Literacy, edited by ClarenceWilliams and John Debes, 1–16. New York: Pitman, 1970. ↵
• Burmark, Lynell. Visual Literacy: Learn to See, See to Learn . Alexandria, VA: Association for Supervision and Curriculum Development, 2002. ↵
• Simons, Tad. Preface to Visual Literacy: Learn to See, See to Learn by Lynell Burmark, v–vi. Alexandria, VA: Association for Supervision and Curriculum Development, 2002. ↵
• S mith, Henry Holmes, James Enyeart, and Nancy Solomon. Henry Holmes Smith: Collected Writings 1935–1985 . Tucson: Center for Creative Photography, University of Arizona, 1986, 89. ↵
• Yenawine, Philip. “Thoughts on Visual Literacy.” In Handbook of Research on Teaching Literacy Through the Communicative and Visual Arts, edited by James Flood, Shirley Heath, and Diane Lapp6. New York: Macmillan Library Reference, 1997 , 845. ↵
• Simons, Tad. Preface to Visual Literacy: Learn to See, See to Learn by Lynell Burmark, v–vi. Alexandria, VA: Association for Supervision and Curriculum Development, 2002 , v–vi. ↵
• Fransecky, Roger, and John Debes. Visual Literacy: A Way to Learn—a Way to Teach . Washington: Association for Educational Communications and Technology, 1972, 7. ↵
• The Information Literacy User's Guide. Authored by : Bernnard, Bobish, Hecker, Holden, Hosier, Jacobsen, Loney, Bullis. Provided by : SUNY. Located at : http://textbooks.opensuny.org/the-information-literacy-users-guide-an-open-online-textbook/ . Project : Open SUNY Textbooks. License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike

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Visual Literacy.

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Presentation on theme: "Visual Literacy."— Presentation transcript:

Where do you want the audience to look? ______ – is outline, may be geometric or free-form, natural or stylized, realistic or impressionistic.

CLASS 2 DESIGN ELEMENTS. DESIGN ARTDIRECTION BASIC DESIGN ELEMENTS.

The Principles and Elements of Design an interactive quiz

Composition (The elements). What is Composition Composition is the arrangement of shapes (forms) in an image – their position, relationship to one another.

Process of __________, arranging, & ______________ visual elements of art to accomplish or address a particular purpose  Elements of Visual Design 

To understand and apply the design element Shape.

SHAPE Design Element Shape To understand and apply the design element Shape.

Copper Ridge Academy English  Support a business  Self expression  Share the beliefs of a group  Brighten up a dull environment  Send messages.

Introduction to Graphic Design

Composition: The Graphics Unit of Study. What is a camera angle? This is the angle from which the camera photographs a subject or scene. There are a great.

Elements of Design Basic Concepts. Elements of Design The four elements of design are as follows: Color Line Shape Texture.

Graphic Novels. What are they? A mixture of narrative, picture books and comic strips Both the pictures AND the text combine to tell the story "a fictional.

Photographic Composition Basic elements of composition help strengthen all types of photographs and digital images Quality and eye catching images are.

Elements and Principles of Design. The elements of design are the building blocks used to create an artwork. The principles are ideas that incorporate.

How do pictures tell a story?. Visual Literacy is the ability to understand the meaning and layout of an image. Shapes Shapes are a part of our world.

NOTES ON VISUALS. THE PURPOSE OF ART Support a business Self expression Share the beliefs of a group Brighten up a dull environment Send messages Tell.

Visual Features used in Advertising Colour Size and Positioning of Objects Symbols (objects/body language/clothing) Shapes Texture.

& Visual Representation

WHY STUDY VISUALS?  Communication  Oldest form  Universal  Immediate  Increasing Technology  Manipulation Awareness.

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