Professional Documents
Culture Documents
Communication
Design
Assignment
1
Stijn
Janmaat
-‐
1272659
Joris
van
Kruijssen
-‐
1312790
Lisa
van
Mastbergen
-‐
1329707
Larissa
Plink
-‐
TheVisualisers.wordpress.com
Content
Chapter
1
Painting
C
-‐
3
Chapter
1
Poster
D
-‐
4
Chapter
2
Painting
A
-‐
5
Chapter
2
Picture
D
-‐
6
Chapter
3
Picture
D
-‐
8
Chapter
3
Poster
B
-‐
9
Chapter
4
Picture
D
-‐
11
Chapter
4
Poster
B
-‐
12
Chapter
5
Painting
A
-‐
14
Chapter
5
Painting
C
-‐
15
Chapter
7
Painting
A
-‐
17
Chapter
7
Painting
C
-‐
18
2
Chapter
1
–
Painting
C
Madonna
of
the
Harpies
When
you
look
at
the
painting
you
first
see
the
colours,
then
your
mind
makes
a
form
out
of
that,
which
is
the
pattern,
and
when
it
is
held
in
your
visual
working
memory
you
recognize
it
as
people.
Then
you
start
looking
back
to
look
for
patterns
and
features
that
gives
you
more
information
about
the
persons.
For
instance
the
next
thing
you
look
at
is
the
shades
and
depth,
your
mind
makes
a
pattern
out
of
that
and
you
see
the
composition.
In
your
visual
working
memory,
you
start
thinking
seeing
that
there
are
3
persons
of
which
the
mid
person
is
placed
higher
in
the
composition.
So
your
mind
starts
looking
for
new
patterns
and
than
features
to
see
that
she
is
standing
on
a
pillar.
Your
mind
is
already
processing
what
it
is
seeing
and
combining
it
with
what
you
know
about
what
you
are
seeing.
Why
is
the
woman
so
special
that
she
is
standing
on
a
pillar?
This
question
can
be
looked
at
as
problem
solving,
this
problem
solving
leads
to
eye
movement
and
new
pattern
finding.
When
you
wonder
why
she
is
standing
on
a
pillar,
you
start
noticing
the
angels,
the
aureoles,
the
cross
and
the
books.
Without
an
explanation
or
name
about
the
painting,
after
only
a
few
seconds
your
mind
had
already
processed
what
the
picture
stands
for,
who
they
are,
what
they
are
doing,
and
so
on.
3
Chapter
1-‐
Poster
B
Grapus
2
In
the
previous
picture
the
first
thing
you
see
is
colour.
In
this
picture
the
first
thing
you
see
is
the
shape.
The
shape
is
more
dominant
in
this
picture
than
the
colour,
because
overall
the
picture
is
more
organized
and
has
fewer
elements
than
the
painting.
When
you
see
the
shapes,
and
start
making
a
pattern,
you
see
that
the
ball
in
the
middle
is
the
earth.
Next
you
see
the
colour
underneath
the
earth
and
two
arrow
shaped
compositions.
When
your
mind
starts
making
a
pattern,
the
arrow
shaped
compositions
becomes
a
group
of
plains,
ships
and
bombs.
In
your
visual
working
memory
these
figures
are
processed
and
you
can
conclude
that
this
picture
shows
the
earth
under
attack.
The
combination
of
what
you
see
and
what
your
mind
knows
about
what
you
are
seeing
makes
you
even
more
curious
to
find
more
information
about
the
supposed
upcoming
attack.
So
your
mind
starts
the
top
down,
bottom
up
process
and
finds
the
coloured
shape
to
say
that
there
will
be
a
demonstration
about
nuclear
weapons.
As
your
mind
is
processing
the
entire
poster,
as
a
last
element
it
will
process
the
features
of
the
background,
the
shapes
and
colours
that
are
processed
into
the
shape
of
the
eiffel
tower
and
thus
Paris.
4
Chapter
2
–
Painting
A
Fishing
boats
on
the
beach
at
Les
Saintes
Maries
de
la
Mer
In
the
painting
there
the
attention
is
very
much
drawn
towards
the
closest
boat.
Mostly
using
much
brighter
colours
then
in
the
rest
of
the
scene
does
this.
Moreover,
the
lines
of
the
first
boat
are
very
neat
and
form
distinctive
planes
that
have
contrast
with
neighbouring
planes.
The
sky,
sea
and
beach
are
painted
quite
smudgy
and
blurry
in
a
much
less
bright
colour
as
the
boats
(on
the
beach).
The
boats
on
the
sea
seem
to
belong
more
to
the
sea
then
to
the
boats
on
the
shore.
They
are
far
away
and
blend
into
the
environment.
This
is
done
by
colour
saturation
but
also
the
suggestion
of
wind,
which
seems
to
flow
through
the
air
displayed
by
the
brush
strokes.
There
are
two
directional
cues
to
be
found
which
van
Gogh
used
to
guide
the
viewer.
When
the
closest
boat
is
the
initial
viewpoint,
the
viewers’
eye
is
directed
from
boat
to
boat,
further
away
by
desaturating
colours
and
placing
the
boats
in
an
arc,
away
from
the
shore.
The
booms
of
the
boats,
which
point
to
the
sea,
aid
this
global
viewing
direction
and
the
boats’
hulls
also
are
oriented
(although
with
the
back)
towards
the
sea.
5
The
second
cue
is
the
direction
of
brushstrokes
above
the
boats
on
the
shore.
They
form
an
arc
around
the
intended
centre
of
attention
and
contribute
to
the
attracting
effect.
6
Chapter
2
–
Picture
D
Innocent
2
Vertical
Where
pathway
Horizontal
What
pathway
In
this
commercial
photograph
for
Innocent
smoothies
their
goal
is
to
communicate
their
brand
image.
The
picture
attracts
attention
to
certain
aspects
of
the
image
by
using
some
channel
differences.
The
two
main
components
of
this
picture
are
the
pile
of
fruit
and
the
smoothie
bottle.
They
stand
out
from
the
green
grass
by
colour
and
because
the
grass
has
no
noticeable
structure
and
is
blurry
and
chaotic,
even
where
the
grass
is
not
actually
blurred.
The
two
main
components
are
intentionally
depicted
in
approximately
the
same
size.
They
are
presented
as
equals.
7
This
picture
comes
across
as
a
very
natural
picture.
There
is
depth
to
be
identified,
proportions
are
correct,
colors
are
natural
and
environment
is
‘real’.
The
objects
demanding
attention
are
therefore
regarded
by
our
What
and
Where
pathways
to
identify
them.
The
size
and
distance
is
determined
by
our
Where
pathway
(vertical
direction)
guided
by
the
blurriness
of
the
grass
and
trees.
In
the
strip
that
is
sharp,
objects
of
interest
are
identified
through
the
What
pathway
(horizontal
direction).
These
objects
are
perceived
as
important
because
they
are
sharp
and
when
looking
at
them
the
blurriness
of
the
rest
of
the
picture
corresponds
with
reality.
The
designer
took
eye
movement
across
this
picture
in
consideration.
Starting
point
will
be
one
of
the
pop-‐out
objects.
The
placement
of
the
fruit
on
the
left
and
bottle
on
the
right
indicates
their
dependency:
the
smoothie
is
made
from
fruit
and
is
a
result
of
the
fruit.
In
the
Western
world
we
read
from
left
to
right,
so
the
viewer
gets
a
hint
of
the
fruit
and
smoothie’s
relation.
8
Chapter
3
–
Picture
D
Innocent
2
In
this
picture
two
main
objects
can
be
directly
spotted:
the
pile
of
fruit
and
the
juice
bottle.
They
are
placed
in
green
field
with
a
blurry
horizon.
The
nature
environment
may
suggest
the
healthy
and
environment
friendly
aspect
of
this
product.
The
objects
in
the
picture
separate
itself
from
the
background
in
different
ways.
The
visual
properties
combined
constitute
a
generalized
contour
for
each
object
that
causes
that
they
stand
out
from
the
background.
The
colour
difference
between
the
objects
and
the
background
is
the
first
way
that
creates
a
distinct
contour.
For
the
fruit
pile,
the
red
and
yellow
make
the
biggest
distinction
with
the
greenish
background.
The
light
green
colour
of
the
grapes
also
contributes.
For
the
bottle,
the
white
label,
the
white
cap
and
the
orange
content
of
the
bottle
are
the
aspects
that
make
it
differentiate
from
its
surrounding.
The
bottle
distinguishes
it
better
than
the
pile
of
fruit.
This
is
because
the
uniform
colours
and
the
greater
difference
in
colour
with
the
background.
The
contour
of
the
objects
is
also
created
by
the
difference
in
texture.
First
off,
the
degree
of
blurriness
plays
a
big
part
in
this
texture
difference.
The
background
blurs
9
out
on
the
top
and
bottom
of
the
picture
(indicated
by
the
arrows).
This
puts
the
emphasis
on
the
lower
centre
of
the
picture;
the
area
where
the
fruit
pile
and
the
bottle
are
placed.
The
fruit
pile
is
made
out
of
different
types
of
fruit
elements.
All
these
elements
together
form
a
particular
shape;
they
create
a
pattern
because
of
the
spatial
layout
of
the
shape
of
the
elements.
The
brain
will
indicate
it
as
one
shape.
The
pattern
can
be
indicated
as
a
triangle.
In
this
picture
there
are
no
overlapping
regions
that
could
confuse
things.
This
keeps
the
picture
simple
and
easier
to
apprehend.
The
viewer
of
this
picture
will
indicate
the
semantic
relationship
between
the
fruit
pile
and
the
juice
bottle.
Standing
next
to
each
other
it
will
indicate
there
is
a
connection.
It
symbolises
that
the
pile
of
fruit
is
processed
in
the
bottle
of
juice.
The
viewer
could
also
interpret
that
nothing
is
added
to
the
juice,
because
there
is
just
one
big
pile
of
fruit
next
tot
the
bottle.
Otherwise
the
manufacturer
probably
wouldn’t
put
the
emphasis
on
this
quality.
10
Chapter
3
–
Poster
B
Grapus
2
This
poster
consists
out
of
four
main
elements:
the
planet
earth,
an
announcement,
the
military
symbols
and
the
background.
For
the
pattern-‐processing
system
in
the
brains,
this
poster
is
quite
understandable.
This
system
is
looking
for
boundaries
of
objects,
also
mentioned
as
contours.
The
objects
in
this
poster
are
really
well
distinguished
from
the
background.
Different
features
do
this.
The
first
feature
that
makes
all
the
objects
stand
out
from
the
background
is
the
difference
in
blur.
The
background
is
vague
and
blurry
compared
to
the
other
objects.
The
other
objects
are
not
blurry
at
all
and
this
makes
them
‘pop’
out
of
the
background.
The
announcement
in
this
poster
stands
out
the
most
of
all
objects,
despite
the
fact
that
it
is
a
bit
covered
by
the
planet
object.
The
main
reason
for
that
is
the
use
of
colour.
The
complete
poster
is
in
black
and
white,
except
for
this
announcement.
The
designer
did
this
on
purpose.
It
creates
a
big
distinguish
from
the
rest
and
it
will
be
the
first
thing
that
pulls
the
attention
of
the
viewer.
It
is
very
likely
that
this
object
is
the
most
important
one
of
the
poster.
It
carries
all
the
required
information
about
a
specific
event.
The
military
symbols
stand
out.
Not
as
single
symbols,
but
as
a
basic
shape.
Together
they
form
a
pattern.
One
can
see
this
even
better
from
a
distance
or
with
the
eyes
half
shut.
The
spatial
layout
of
the
shapes
will
make
them
perceive
as
one
shape.
They
clearly
shape
the
contour
of
an
arrow
on
both
sides
of
the
poster.
This
is
probably
the
first
thing
that
the
viewer
will
notice,
the
arrow
shape.
With
a
closer
look,
the
viewer
will
indicate
that
this
arrow
consists
out
of
symbols,
military
11
symbols.
The
shaped
arrow
is
even
more
emphasized
with
these
symbols,
because
these
symbols
point
in
the
same
direction
as
the
complete
arrow
contour
does.
These
two
arrows
have
multiple
meanings.
The
first
semantic
meaning
is
that
the
two
arrows
pointing
to
the
middle
put
a
focus
on
something.
They
emphasize
that
the
vital
information
is
in
the
middle
of
the
poster,
they
communicate:
‘This
is
what
it’s
all
about’.
The
symbols
that
shape
these
arrows
also
have
a
meaning.
The
announced
event
is
about
disarmament.
That
is
why
the
designer
picked
these
symbols.
The
unconsciously
tell
something
about
the
subject
of
the
poster.
The
combination
of
the
blur
and
colour
difference
and
the
semantic
meaning
of
the
arrows,
make
it
a
very
clear
and
powerful
poster.
It
makes
use
of
the
pattern-‐
processing
system
and
the
permeation
of
our
spoken
language
(the
semantic
meaning
of
the
arrows).
12
Chapter
4
–
Picture
D
Innocent
2
This
is
an
advertisement
for
innocent
smoothies.
They
obviously
tried
to
put
the
focus
on
the
bottle
and
the
little
mountain
of
fruit.
If
we
evaluate
the
picture
on
colour
there
are
a
couple
of
aspects
that
stand
out.
Saturation
-‐
At
first
we
see
the
use
of
saturation.
The
colours
for
the
background
are
dark,
so
not
saturating.
The
background
doesn’t
matter
for
the
advertisement.
It
is
also
very
blurry
just
like
the
beginning
of
the
grass
at
the
foreground,
what
makes
it
that
those
two
areas
do
not
catch
attention.
In
the
grass
in
the
middle
there
is
more
detail,
and
the
colours
are
more
saturated
then
the
little
fruit
mountain.
The
colours
are
very
strong
saturating;
this
is
the
way
this
mountain
gets
attention.
Unfortunately
the
colour
of
the
juice
in
the
bottle
isn’t
very
saturating,
resulting
that
the
fruits
get
more
attention
than
the
bottle.
Which
should
get
the
attention,
because
this
is
the
product
they
want
to
sell.
Contrast
-‐
Contrasts
aren’t
a
big
issue
for
this
poster.
There
are
a
lot
of
different
tones
of
green,
all
very
closely
to
each
other.
The
grapes,
bananas
and
strawberries
show
this
contrast
a
little.
But
through
the
yellow
flowers
in
the
grass
this
contrast
is
less
noticeable.
After
noticing
all
this
we
can
look
at
the
greyscale
image;
the
red
strawberries
have
almost
the
same
tone
as
the
grass,
the
same
thing
for
the
colour
of
the
juice.
That
is
a
thing
we
can’t
change.
The
best
thing
is
to
make
the
grass
a
different
tone
of
green.
The
contrast
is
used
well
on
the
bottle,
the
innocent
logo
stands
out
on
its
white
background.
The
lit
of
the
bottle
is
very
nicely
contrasting
to
the
dark
background.
An
advice
fort
his
poster
will
be
to
make
the
grass
less
restless,
by
use
of
less
green
tones.
13
Depth
-‐
The
depth
in
this
picture
is
made
though
blurring.
The
front
grass
stroke
and
the
background
are
blurred,
so
the
focus
lays
on
the
middle
stroke
of
the
picture.
Shading
to
make
the
depth
stronger
is
used
by
adding
a
drop
shadow
to
the
bottle.
14
Chapter
4
–
Poster
B
Grapus
2
On
22
October
in
1983
people
stood
up
and
demonstrated
for
nuclear
disarmament.
This
poster
is
an
advertisement
for
walk
for
disarmament
in
Paris
at
the
Place
de
Jean
Jaurès
à
la
rue
de
la
Paix.
Contrast
-‐
Contrast
is
a
big
issue
on
this
poster
and
can
be
noticed
in
different
parts
of
it.
At
first
the
ticket
in
the
middle
stands
out.
This
is
because
the
whole
poster
is
in
greyscale,
except
from
this
ticket.
Within
this
only
primary
colours
and
black
and
white
are
used.
The
texts
on
the
ticket
are
written
on
strong
saturating
backgrounds.
White
against
a
red
background,
black
against
a
yellow
background
and
yellow
against
a
blue
background
are
examples
of
sharp
contrasts,
which
are
well
used
on
this
poster.
This
makes
the
texts
legible.
Depth
-‐
The
ticket
is
not
the
only
aspect
that
comes
into
the
eye.
The
globe
pops
up
too.
Not
only
through
a
little
touch
of
colour,
blue
and
a
brownish/orange
can
be
spotted,
but
also
by
putting
it
partly
in
front
of
the
ticket.
This
black
bottom
of
the
globe
contrasts
against
the
red/yellow
top
of
the
ticket,
which
creates
depth
in
the
picture.
Depth
could
be
depicted
well
by
shading.
Now
both
items
are
freestanding
from
the
background,
the
look
is
alike
a
collage.
15
This
is
another
example
of
the
poster.
There
is
much
more
going
on
here.
Or
at
least
it
looks
like
there
is.
This
poster
shows
us
a
friendlier
version
of
the
poster.
The
greyscale
airplanes
and
boats
are
exchanged
for
coloured
flowers.
The
world
has
also
more
colours.
This
poster
shows
us
a
better
world.
As
the
demonstrating
people
want
their
world
to
be.
The
motto
behind
this
poster
is:
If
the
world
doesn’t
perish,
it
will
blossom.
Along
with
this
presence
of
more
coloured
is
an
attention
factor.
The
ticket
doesn’t
stand
out
anymore.
The
foreground
images
are
much
more
sharpened
too.
The
background
becomes
vague.
16
Chapter
5
-‐
Painting
A
Fishing
boats
on
the
beach
at
Les
Saintes
Maries
de
la
Mer
In
the
painting
there
are
several
depth
cues
to
be
identified.
Since
it
is
a
picture,
they
are
mere
pictorial
depth
cues.
I
will
discuss
the
applied
depth
cues
in
order
of
strength.
Occlusion
-‐
The
line
of
boats
on
the
shore
generates
a
great
sense
of
depth.
They
partially
occlude
one
another
and
this
fixes
the
way
the
sea
and
beach
should
be
seen.
Without
the
boats
the
beach
and
shore
would
be
too
uniform
and
not
detailed
enough
too
give
a
sense
of
depth:
too
few
depth
cues.
Perspective
-‐
There
is
a
clear
size
gradient
in
the
boats
on
the
shore
and
on
the
sea.
Texture
gradients
are
harder
to
identify,
but
the
yellowish
spots
on
the
beach
up
close
disappear
gradually
and
the
beach
becomes
a
uniform
colour.
This
detailing
plays
a
small
part
in
perception
of
depth
in
this
painting.
Linear
perspective
is
not
really
present.
There
are
some
lines
to
be
drawn
across
the
front
and
end
points
of
the
boats
on
the
shore
(see
picture),
assuming
the
boats
are
the
same
size.
But
they
do
not
create
a
vanishing
point,
so
linear
perspective
does
not
play
a
role
as
a
depth
cue
in
this
painting.
17
Cast
shadows
-‐
There
are
remarkably
few
shadows
and
reflections.
Only
the
foremost
boat
has
a
bit
darker
brown
sand
under
its
hull,
but
this
could
very
well
be
the
darker
sand
that
was
brought
to
the
surface
when
the
ship
was
dragged
on
the
shore.
Height
on
picture
plane
-‐
This
is
an
obviously
present
depth
cue:
all
the
boats
are
in
relation
of
one
another
in
height
and
size.
Shading
-‐
The
downward
facing
parts
of
the
ships’
hulls
on
the
shore
are
quite
dark.
Especially
the
second
and
third
in
the
row
have
a
darker
bottom.
But
in
general,
it
is
pretty
much
unutilized.
Reference
to
nearby
known
objects
-‐
The
boats
are
a
size
that
can
be
easily
estimated
by
humans.
Degree
of
contrast
-‐
This
can
be
noticed
at
the
boats.
The
backmost
boats
on
the
sea
are
painted
in
far
less
saturated
colors.
As
the
boats
appear
closer,
the
used
paint
gets
brighter
and
more
colorful.
In
conclusion,
the
minimal
use
of
shadows
make
it
a
bit
flat
picture
at
first
sight.
The
nice
perspective
of
the
boat
make
them
pop
out,
but
the
rest
is
deliberately
vague
and
facilitating
the
presence
of
the
boats
on
the
shore.
The
blurry
environment
is
to
make
people
wander
about
the
meaning
and
dream
of
the
painting:
what
could
be,
what
could
happen
if
the
ships
reach
the
right
end
of
the
painting?
Where
do
they
go?
18
Chapter
5
-‐
Painting
C
Madonna
of
the
Harpies
In
the
painting
there
are
several
pictorial
depth
cues
to
be
identified.
Occlusion
-‐
There
is
some
occlusion
occurring
within
each
of
the
3
main
figures
(hands
holding
books
and
crosses),
but
the
figures
do
not
overlap
one
another.
They
are
at
the
same
distance
from
the
viewer.
The
Harpies
half
occluded
by
the
pedestal
and
the
Madonna
give
the
latter
a
beautiful
sense
of
depth.
Perspective
-‐
There
is
a
very
small
perspective
to
be
identified
(grey
lines),
but
this
it
doesn’t
really
play
a
role
in
depth
perception
in
this
painting.
Cast
shadows
-‐
There
are
quite
some
cast
shadows
that
determine
the
place
in
the
environment.
All
figures
have
shadows
on
the
floor
and
the
back
wall.
Height
on
picture
plane
-‐
The
height
of
the
figures
is
indicative
for
their
importance,
not
the
depth.
They
are
approximately
the
same
distance
from
the
viewer.
Shading
-‐
This
is
extremely
important
in
the
perception
of
the
shape
of
the
clothing.
All
the
folds
in
the
robes
make
it
almost
touchable.
Also
the
child
in
the
arms
of
Madonna
gets
volume
because
of
the
detailed
shading.
Reference
to
nearby
known
objects
-‐
Humans’
sizes
are
well
known,
so
we
can
easily
determine
the
scale.
Degree of contrast -‐ This depth cue is not present.
19
In
this
classical
medieval
painting
depth
is
treated
very
locally.
The
relative
distance
of
the
figures
and
distance
to
the
viewer
is
not
really
important.
They
are
together,
because
they
tell
a
story
together.
Depth
within
figures
is
important
and
is
realized
by
a
lot
of
shading,
shadows
and
some
occlusion.
But
occlusion
is
handled
with
care,
because
the
story
cannot
suffer
from
unclarity.
An
often-‐used
technique
is
the
lightly
painted
knees,
which
really
come
forward.
They
provide
perceptual
information
about
the
posture
and
make
the
whole
figure
dynamic.
20
Chapter
7
–
Painting
A
Fishing
boats
on
the
beach
at
Les
Saintes
Maries
de
la
Mer
At
first
sight
this
painting
doesn’t
have
much
verbal
narrative
aspects
through
its
visuals.
The
painter
did
not
try
to
communicate
a
message
with
this
painting.
It
describes
a
view
of
a
specific
landscape.
An
aspect
that
is
present
in
this
painting
is
the
use
of
its
still
images
to
express
a
dynamic
situation.
The
painting
is,
of
course,
not
moving,
but
the
viewer
can
understand
that
the
described
situation
is
not
static
in
real
life.
This
understanding
comes
from
different
aspects
in
the
painting.
As
Colin
Ware
states
in
Visual
Thinking
for
Design:
‘In
a
sense,
the
brain
is
constantly
making
predictions
about
the
state
of
the
world
that
will
follow
from
actions
such
as
eye
or
hand
movements.’
The
visuals
in
the
painting
support
the
logical
relationships
that
are
present.
The
obvious
brush
strokes
that
are
present
in
the
sky
emphasize
the
movement
of
the
air.
These
strokes
create
a
pattern
and
colour
difference.
The
brain
will
make
a
prediction
that
this
air
is
probably
in
movement.
A
reaction
on
this
wind
blowing
is
the
sails
of
the
boats.
The
first
two
sailing
boats
are
clearly
in
movement.
The
viewer
gets
this
message,
it
can
be
seen
that
the
sails
are
filled
with
wind,
because
they
are
curved.
21
It
is
also
clear
to
the
viewer
of
the
painting
that
the
sea
is
not
static,
but
that
it
is
moving.
The
dynamics
of
the
waves
can
be
abstracted
from
the
style
of
painting.
The
pattern
of
the
waves,
the
alignment
of
the
breakers
implicates
that
one
wave
is
coming
after
another.
The
strokes
used
to
make
these
waves
amplify
the
dynamics.
22
Chapter
7
-‐
Painting
C
Madonna
of
the
Harpies
Obviously
this
a
religion
related
painting.
It
shows
the
Virgin
holding
a
child,
flanked
by
two
angels.
Next
to
these
angels
are
two
saints.
The
painting
shows
an
obvious
hierarchy
structure,
a
pyramid
shape.
The
virgin
and
the
child
are
the
highest
in
hierarchy,
that’s
also
the
reason
why
they
are
placed
on
a
pedestal.
The
saints
take
second
place
and
the
angels
come
after
them.
In
the
painting
three
aspects
with
learned
symbolic
value
can
be
indicated.
The
most
known
one
is
the
cross
that
the
left
saint
is
holding.
The
association
that
people
have
with
this
symbol
is
a
religious
one,
Christianity.
It
refers
to
the
bible
story
where
Jesus
was
nailed
to
the
cross.
23
Another
learned
symbol
are
the
halo’s
that
are
above
the
heads
of
the
persons
in
the
picture.
The
halo
indicates
that
the
persons
are
holy.
In
current
society
this
symbol
is
most
used
when
angels
are
depicted.
It
is
also
used
in
cartoons
and
other
drawings,
in
a
sometimes-‐exaggerated
way,
to
show
that
a
person
is
completely
honest
and
true.
The
wings
of
the
angels
in
the
painting
also
have
a
symbolic
value.
People
are
able
to
indicate
a
drawn
person
with
wings
as
an
angel
or
somebody
that
has
passed
away.
It
refers
to
a
higher
power
and
the
hereafter.
Some
deictic
gestures
in
the
painting
are
quite
obvious.
The
baby
is
grabbing
the
virgin
around
her
neck.
This
way
the
baby
shows
its
devotion
to
the
virgin.
It
wants
to
be
nurtured
and
protected
by
her.
The
virgin
holds
the
baby;
she
is
taking
care
of
it.
She
looks
down
to
the
bible
of
the
right
saint,
but
not
with
great
interest.
The
left
saint
is
turned
to
the
virgin.
He
also
shows
his
devotion,
but
in
a
different
way
than
the
baby.
Holding
the
cross,
he
probably
wants
to
praise
or
bless
her.
The
right
saint
looks
real
calm
and
self-‐assured,
like
he
has
things
under
control.
It
should
look
like
he
his
lecturing
the
virgin
from
the
holy
bible.
The
angels
holding
the
virgin
have
a
desperate
and
insecure
look.
The
reason
for
this
gesture
is
not
clear
(to
us).
24