Assignment 1 - HERCULES AND THE HYDRA

This picture described the Greek mythology that Hercules fight with the Hydra. It is made by Antonio Pollaiuolo. As can be seen in this picture there are two layers, first one is a man fighting with a monster. The other layer is a vague background that displays blue sky and a huge area of ground with rivers and farms. From this background, we can naturally know the figure and monster in the picture are much bigger than the normal one if we take the background as a reference, we will think it probably could be a mythology story about gods. In this assignment, this picture will be investigated by chapter 1 “Visual Queries”, chapter 5 “Getting the Information: Visual Space and Time” and chapter 7 “Visual and Verbal Narrative”.

1 Chapter 1   Visual Queries

1.1    The apparatus and process of seeing

According to the reader, “visual thinking is a process that has the allocation of attention as its very essence, it consists of a series of acts of attention, driving eye movements and tuning our pattern-finding circuits” (P. 3). There are a great many tiny ones processing information from central regions where we direct our gaze and only a few very large ones processing information at the edge of the visual field, which means we always focus on the center of an image as well as our visual fields and neglect the information at the edge of field. That is why we need rapid and frequent eye movement to find other information to build a complete image.

In this picture, our eyes and brains naturally focus on the figure not only because it is in the center of the picture but also because it is the most bright and clear part of the picture. We begin to scan the body of the figure from the center point such as from the stomach to limbs. Therefore, we neglect the monster beside him as well as the backgrounds. The monster seems to be merged into the background and become a part of the background which is vague in our visual fields (Figure 1). In this way, the character in the center is highlighted both in our visual fields and brains that helps us to enhance his great image in our minds.

Figure 1. The figure is in the center of the picture and also our visual field 

After that, the attentions go on to the other parts around the figure which are also edges of the picture. Because when we interact with an information display, we are usually trying to solve some kind of cognitive problem (P. 4). In this picture, we want to know what the painter wants to tell us through his painting. In other words, we need to build a story by ourselves according to the detailed information we gained from the whole picture through the eye movement. The more information we get, the easier the story we can make. As we first saw the man in the center, then we saw the stick on his hand, and a monster’s neck in the other hand. At last, we saw the backgrounds such as sky and ground. Finally we know it is a story about a huge man fighting with a monster. If we look carefully, we can see two cut-off heads of the monster on the ground which shows the fight has lasted for a while.

1.2 The act of perception

According to the reader, “the act of perception is determined by two kinds of processes: bottom-up, driven by the visual information in the pattern of light falling on the retina, and top-down, driven by the demands of attention, which in turn are determined by the needs of the tasks “(P. 8).

From the bottom-up aspect, when the readers look at the picture, they first saw a man waving a stick, and then they noticed a monster is underling attack, finally they know it described a mythology because the figures are much bigger than the trees and rivers on the backgrounds. The background here is very important for readers to realise that the man in the picture is a god rather than a normal person.

From the top-down aspect, if the readers know this picture is about the mythology of Hercules and the hydra, they will mainly search Hercules and hydra and focus on them when they find them. The background here is not important or necessary for them to get a right understanding, they may even not notice the details of the background.

2 Chapter 5   Getting the Information: Visual Space and Time  

2.1 Depth perception and cue theory

- Occlusion and cast shadow

According to the reader, “Most depth cues consist of environmental information that we use to judge distances from our particular viewpoint.” (P.89). There are many depth cues such as size gradients, texture gradients, depth of focus and size relative to known objects. Each of them has unique properties that can support different kinds of visual queries.

In this picture, we can see the man’s arm occludes the monster’s wing, and the monster’s body occludes the ground which is the background of the picture (Figure 2). Although objects occludes another appear closer, we can not simply say that the man in the picture is in the front of the monster, because the cast shadow of the monster is closer than the man’s cast shadow. But this can not deny the fact that the man’s arm is more important than the monster’s wing that occlusion provides both a method and a metaphor for rank-ordering information with the most important partially occluding the less important even the wing of the monster is much bigger than the man’s arm, because occlusion is the strongest depth cue compared to the others such as size constancy.

Figure 2. The occlusion between the man and the monster   and the positions of their cast shadow on the ground

- Size gradients and depth of focus

There are two part of river on the ground in this picture, and one is much bigger than another (Figure 3). More distant objects are smaller on the picture plane than similarly sized nearby objects (P. 92). Since the rivers are almost the same psychical size or even they are the same river, we can feel that the smaller one is more distant than the bigger one. In another word, we can say that there is a long distance between the two rivers, which also means the ground showed in the picture, is a huge area if we consider the width of the river and the size of the farms as reference. Additionally, Objects that are farther away or nearer are blurred because the human eye, like a camera lens, focuses objects at a specific distance. From the figure 3, we also saw that the area of the smaller river is blurred while the bigger river area is clear, this also proved that the smaller river is far away.

Figure 3. The different size of the rivers shows the distance between them

- Reference to nearby known objects

Objects of known size provide a reference against which other objects are judged. Perspective cues only give cues to relative size, but we can also judge the absolute size if we have a reference object. Although this effect is knowledge-based and not pure geometry like the rest, it is one of the most important cues to distance. As we have seen in the figure 2, the man is standing on the ground according to his cast shadow is close to the ground. Also we know from the figure 3 that the ground is a huge area of land which has rivers and farms. If we make the man’s body as a known reference object, the rivers and the farm are too much tiny which looks like a normal man stands on a tiny world. But if we make the rivers as a reference, it become a giant man stands on the normal world. Of course, the latter one is more convinced.

3 Chapter 7     Visual and Verbal Narrative

3.1 Linking deictic gestures

Pointing is an important part of communication, especially when it is necessary to link visual and verbal information. When the communication is moved to 2D environment, images that contain deictic gestures can draw people’s attention easily and naturally.

In this picture, we first and most pay our attention to the man in the middle and pay less attention to the monster beside. While since we move our eyes through the man’s body to get more information, our eyes will naturally move on to the monster’s neck because the man’s left hand is grasping it. On the other hand, the man is waving a wood stick which points directly to the monster’s head. This also helps to draw our attention to the monster after we saw the man first, because the man is the most important role in the picture while the monster is the second important one. What’s more, the direction of the man’s gaze also points to the head of the monster that move all our attentions to the monster and help us to make connections between these two roles in the picture. The direction of someone’s gaze, or how he orients his body, can also serve to denote the subject of an utterance. For instance, the gesture of the man’s legs shows that he has the trend to lean to the monster for close combat. There is one interesting thing that the monster’s neck movement can also be seen as a kind of gesture. The neck twisted like the character “s” which guide people’s eye back to the man’s face (Figure 4).

Figure 4. The gesture of the man

3.2 Mirror neurons and empathic communication

The mirror neurons are called empathy neurons because they may allow us to read the emotions of others through the same pathways that generate our own facial expressions when we are expressing emotions (P. 137). For example, when we saw other’s face in a picture, we may feel the emotions of others via our own facial muscles through the mediation of mirror neurons. In this way, pictures can not only express the visual information people could see but also can express the emotional information people could feel, and this feeling will also help people to enhance the experience of the picture.

In this picture, there is a man starring at a monster. From his facial muscles, we can form a feeling in our minds that when we have the same face muscle movement. We can feel the man is angry because we will have our blows closely knitted just like the man showed in the picture when we ourselves are angry. He gritted his teeth together that shows he used up all his strength to swung the wood stick and grasp the monster’s neck tightly. Even from such emotions on the man’s face, we could feel how fierce and cruel the monster is. Such feeling helps us to experience the power of the giant man and the drastic battle between the man and the monster.

Figure 5. How the man orients his body

On the other hand, the monster also has its facial expression. It opens its mouth, looking rather ferocious or it may be suffering the drastic pain caused by the giant man’s grasp. The man and the monster staring at each other that reminds us the moment when we stared at each other. It must going to have a battle between the two even we only see their faces instead of seeing the arm movements.

Figure 6. The facial expression of the man and the monster

Assignment 1 - ADVERTISEMENT OF CLUB MED

This picture is an advertisement of Club Med Company. It is a company which provides vocation tours to people.  The whole picture can be divided into three layers. The front layer describes plants, animals and fruits of tropical islands. The middle layer shows some images of visitors. They are modern lady, young men with casual clothes, model with wedding dress and others. In the back layer, a tanker is sailing in the calm sea with blue sky. In the top left corner stands the logo of the company. The author of the picture aims to attract visitors to the islands via prosperous voyage.

1 Chapter 4   Color

1.1 Cone receptors and color-processing

According to the reader, cone receptors come in three subtypes—short-wavelength sensitive, middle-wavelength sensitive, and long-wavelength sensitive. And we have few and weak blue-sensitive cones than other cones, similar colors that can be catch by blue-sensitive is difficult to be distinguished. In the example of reader, blue text on blackboard background is illegible. (P66-67)

However, the icon of the picture can be seen as white texts on blue blackboard, and it is very distinct. White and blue are absorbed by two types of cone receptors, so that they are much easier to be seen in detail. Besides, the blue-sensitive cone are weak than the white-sensitive one, which makes the white icon more distinct.

Figure 1. White logo on blue blackboard

The reader presents red- and green-colored cones are clumped together, thus we are far less able to see detail where the differences are purely chromatic. (P68)

In the central of the picture, there is an obvious color contract between black glove and whit tanker. Black and white parts of the image to fall on two different cone receptors, which makes them easy to distinct. However, colors of flowers, fruits and animals are all kinds of blue and red. They fall on clumped cones and are hard to see in detail.

Figure 2. Discrimination of different parts

1.2Channels and Contrast

In the reader, there are three channels in color: red-green, yellow-blue, and black-white. And the effect of simultaneous contrast, which occurs in each channel, leads to the increase of difference between colors as illusion. In the front layer, most colors are red and green. These colors are two contrast colors in the red-green channel. And the differences in the colors are increased in brain. However, in the back layer, the color changes from blue to white. It can be seen as luminosity change, and the contrast created by brain is less complex.

Besides, chromatic channels have less capability to convey detail information. This is the reason why the fine detail information cannot be captured easily in the front layer.

Figure 3. Contrast within different channels

1.3 Semantics of color

Colors are often used symbolically. The semantics of color differs from countries and cultures. (P84) In the picture, the background is mainly blue and white. Blue represents calm and cold, while white represents purity. The color of background ensures customer that the trip via tanker is safe and pleasant. The colors of objects in the front layer are saturated, which implies high quality of fruits, vegetables and animals in the island. These colors are mainly red, green and yellow, which helps to create a happy and fresh atmosphere.  Besides, author of the picture uses black, white and gold in the visitors. This colors implies modern, fashion and rich in most cultures. All these colors imply that this trip is safe and pleasant, all the stuff on the island is fresh and lively, and the trip is worth for modern people who search for high quality life.

2 Chapter 5   Getting the Information: Visual Space and Time

We live in complex three-dimensional world. However, when we use paper to convey information, we only have the up dimension and the sideways dimension. Information on the towards-away dimension is easily to lose. However, people present depth cues in portrait or photograph to convey depth perception. (P89) In this picture, the author combines some methods to show depth cues.

2.1 Occlusion

According to the reader, occlusion acts as the strongest depth cue when there is a completion with other factors, such as size. Besides, occlusion has a metaphor meaning of ranking. The most important object can occlude other ones.

In general, the front lay occludes the middle one, which occludes the back layer. It suggests the beautiful flowers, fresh fruit and lovely birds of the front layer, are the key information of the picture. They are the gifts for customers as well as the main attraction of the company. While, the images of visitors and tanker are less important, so that some part are hidden. Besides, although the logo of the company lies in the back layer, it is not occluded by any object. It implies that the logo is very important in this picture.

The occlusion can express depth cues as well as show more objects in limited space. However, it is critical that occluded objects should still be identified. The author of the picture obeys this rule. Take the piece of the lower right corner for example, it is a small part of the whole picture and it contains more than ten objects: lemon, banana, pineapple, parrot and so on. If people see this corner in detail, they can distinguish the objects easily. None of these are occluded so much that cannot be recognized. In this way, the picture shows information clearly.

Figure 4.The lower right corner

2.2 Perspective: Size gradient

According to the reader, size gradient presents cues to depth information. More distant objects are smaller on the picture plane than similarly sized nearby objects. Besides, the size suggests the importance of objects. The most important object takes up the largest place in the photograph or portrait. (P92)

During images of people in the picture, the modern lady takes a largest space. It helps this image of lady to attract people’s attention. The man dressing informally looks much smaller than the lady. All these suggest that the trip is a modern one rather than a casual one. The interesting point is that there is a small image of young man in the front layer. There is a contradiction: the man occludes the lady while the lady is larger than the man. This cannot happen in the real world. It suggests that the lady is so important that the author magnifies the image of lady on purpose.

Another interesting point is the image of duck in the front layer. The duck is so big that it seems abnormal to the perspective rules. People can judge that the duck is popular animal in the islands of the trip.

Figure 5.The size gradient of people

2.3 Shading

“Surfaces of objects reflect more or less light depending on how they are oriented towards the light source.”(P93) By observing the shade, people can judge whether the picture is an original one or it is pieced by several pictures with different light sources. And the stronger the light source is, the more detail we can find on images. And the object with stronger light source can attract more attention.

This picture is surely a pieced one. The images of modern lady and the golden lady are taken with strong and close light sources. While the images of fruits and lemons are taken with weak and distant light sources. In this picture, people are easy to be attracted by details in the ladies and only glance at the fruits. The ladies stand out for the importance.

Figure 6.The shade of objects

2.4 Depth of focus

To show the depth information, photographers focus objects at the specific distance, and objects that are farther away or nearer are blurred.  (P93) Although this picture is a pieced one, the author also chooses sharp and blurred objects to give depth cues.  Besides, the sharp object often catches people’s attention and has a meaning of importance.

In this picture, the focus distance depends on the modern lady. The image is so sharp that all the details of the lady’s face can be seen clearly. The fruits and animals in the front layer are nearer, while the tanker on the back layer is farther away.  It makes the whole picture looks like a nature one and the lady stands out at the same time.

Figure 7.Sharp and blurred

Besides, the logo is also sharp and it seems at the same distance as the lady. Also it shows that the logo contains important information.

3 Chapter 7   Visual and Verbal Narrative

3.1 Linking deictic gestures

When people communicate face to face, they use the gesture “pointing” to express the meaning of “look at that one”, “it is here” and others. When the communication is moved to paper-based environment, author selects images which contain deictic gestures to draw people’s attention.

In the picture, there are some deictic gestures to draw people’s attention. Firstly, the tanker with the name of the company lies on the back layer of the picture, which cannot catch people’s attention easily. However, there are two big the modern lady is pointing at the tanker. One is the modern lady’s hand. She takes important part of the picture and her left hand is pointing at the tanker. The black glove makes sharp contrast to the light color background. This gesture stands out and turns peoples’ attention to the tanker. The other deictic gesture is much slighter. The man with casual clothes is gazing at the tanker too. It also draws people’s attention to the tanker.

Secondly, the gesture of the parrot is interesting. The wings of the parrot point to the logo of company and help the logo to stand out. It is an interesting finding. In the reader, the gestures only refer to human being. However, this can happen on any objects. But to make it more clear, the gesture should be large enough and make obvious contrast with the background to catch attention of people.

Figure 8.Deictic gestures

3.2 Mirror neurons and empathy communication

The discovery of mirror neuron in human being shows the complexity of brain activity. “They have been called empathy neurons because they may allow us to read the emotions of others through the same pathways that generate our own facial expressions when we are expressing emotions.” (P137)  When the theory applies to picture, people can read facial expressions and body language in pictures by generating the same expression. Then they can experience the same emotion. In this way, author of picture can achieve their emotional goal.

There are two main points of empathy communications in this picture. The modern lady is reclining on the floor with the support of elbow. One of her hand lies on her knee casually. Her head lifts slightly, as if she is watching something. Her facial expression shows she is relaxed and calm. When people see this, the mirror neurons work. They copy this action and facial expression in our own brain and experience this emotion. They feel relaxed, leisure and enjoyable. In this way, this advertisement does a good job. By watching this picture, people get positive emotion and get attracted by the imagined feeling of trip.

Besides, the image of golden lady does empathy communication with people. The lady looks up slightly with closed eyes. Her facial expression is relaxed and stretched. When seeing this image, certain region in people’s head works and this facial expression is imitated. People feel the delighted thoughts and the relaxing environment as if they are enjoying sunshine on the beach or smelling flower in the garden. In this way, this picture conveys the information that the company provides some service that brings relaxing and joyful enjoyment.

Figure 9. Empathy communication

Assignment 1 - ADVERTISEMENT OF CANON

This picture may be an advertisement or a page of manual of Canon Digital Single Lens Reflex (DSLR) camera. As can be seen in this picture there are two layers, first one is a stylish man in a racing car and holding a camera. The other layer is a vague background that displays the feeling of speed. Despite these two layers, there are two marks (48 and 49) in the picture. In this assignment, this picture will be investigated by chapter 1 “Visual Queries”, chapter 2 “What We Can Easily See” and chapter 3 “Structuring Two-Dimensional Space” of Visual Thinking of Design.

1 Chapter 1   Visual Queries

1.1 The apparatus and process of seeing

According to the reader, seeing is all about attention (P.3). Depending what we are searching for and focusing on, our visual thinking act a series of eye-movement and pattern-finding. Moreover, our brain concentrates in the fovea which is at the very center of the visual field. We can detail the image in the centre of visual field. On the other hand, the information at the edge of field can only be barely seen. In order to get more information of image, rotate eyeball rapidly is necessary. The eye-movement points at something interesting and useful locations.

In this picture, the vague background enhances the main character which is the man holding camera and also the numbers. Our brain naturally focuses on those clear features and just gets a rough idea about the vague background. First we may see the white 48 in a red circle (we will discuss it in next chapters) or the man. The information surround the red circle is meaningless faint gray color that do not contain many details, so readers do not stair the red spot too long and move to the next information. Furthermore, the 48 in this picture does not have meaning to readers, it may be forgotten naturally in a short time according to the working memory.

After that, the attention goes on the main character. This part can be divided into certain reasons that lead readers’ eye-movement focus on the camera, such as direction and color. However, one of the obvious elements is location. The camera is located at the intersect point where is easily can be seen (Figure 1). Afterwards, the camera becomes a center of the visual field, the rest of the image of the man start to be investigated by rapid eyeball movement after readers see the camera.

Figure 1. Camera is located at the intersect point.

1.2 The act of perception

According to the reader, our brain does not process all the information that we see due to decrease energy consumption. Brain consumes huge energy to store information. Thus there are two waves to receive information. One is bottom-up, another is top-down. Broadly speaking, “bottom-up is driven by the visual  information in the pattern of light falling on the retina, and top-down, driven by the demands of attention,  which  in  turn  are  determined  by  the  needs  of  the  tasks.”(P.8)

In the left part of this picture (Figure 2-a), form the bottom-up aspect, readers may read the information and get a rough idea of this part of image. In this image there is a man with helmet holding camera and sitting in a vehicle. In addition, the background provides fast feeling. According to these clues, our brain does not only start to form an image but also bound the information what we have received and connect it to our general knowledge. For instance, if you are familiar with the sports car, you may directly consider that black vehicle is a black convertible sports car (Figure 2-b). If you are more familiar with a three-wheeler, you may think the man is on it (Figure 2-c).

Figure 2. From the bottom-up aspect, different reader may connect the black vehicle to their own knowledge. b is a black convertible sports car and c is a three-wheeler.

On the other hand, in the top-down process, if the readers know they are searching for a car, they may form a feature and try to find a pattern in this picture. Without thinking, they may consider the three-wheeler is a sports car.

2 Chapter 2   What We Can Easily See

In this chapter, the main theme is why we can sense something small in the periphery and make an eye movement so that they become a visual centre.

2.1 What stands out = what we can bias for

According to the reader, “pop-out effects depend on the relationship of a visual search target to the other objects that surround it” (P.28). In other words, the more single targets object different from the other surrounding objects which are all identical or similar, the more pop-up effect occurs. Thus, the degree of contrast level between target object and surroundings make it distinct by certain ways, such as shape, sharpness, direction of motion and cast shadow. 

In this picture, first element to pop-up the main character is sharpness and size. The entire image is vague except the head area of the man and the number in a red circle. Also the man occupies a half page. In this stage, the image is divided into two main layers. Readers get the rough idea of background instantly because it is a common composition of road view and another layer is the man in a vehicle.  

The numbers in the picture are 48 in the filled red circle and 49 in an orange circle (Figure 3). Both are pop-up from the gray vague color because of the differences of color and sharpness. Additionally, the 48 is a filled solid object and with no connect to the image thus it is the obvious in the entire image. On the other hand, despite the 49 has a sharpness and color difference, the transparent circle make the number unclear and also make it less important to 48.

Figure 3. Using the sharpness and color to pop-up the objects.

Furthermore, back to the main character, as be mentioned that pop-up by sharpness first. Particularly his right arm has the color and direct of motion differences. The direction of background and the man’s body are from outside tending to the centre of image but the direction of his right arm is from centre to outside (Figure 4). The eye-movement follows the right arm to the end which is the camera.

Figure 4. The different directions of motion make the right arm distinct.

Color and texture of man’s clothes are crucial. The color and texture of coat is different to the road (right arm part) but similar to the background (left arm part). What is more, the gray value of coat is close to the vehicle gradually. Those make the orangeish color, which are shirt, scarf, hands and face, pop-up from the left clear part of image. And the black camera is surrounding by the orangeish area that helps the camera to pop-up (Figure 5). Moreover, helmet has the greatest bright level to become an attention point in this image. That makes a contrast to camera.

Figure 5. The contrast of the color and texture between different elements such as coat, shirt and helmet make the camera distinct.

2.2 Using multiscale structure to Design for search

According to the reader, “Adding multiscale visual structure will make search much more efficient, as long as the smaller objects of search can predictably be associated with larger visual objects.” (P.40) We tend to read the image into several large groups first and detect each group into details.

In this picture, it may be divided into certain groups such as the man area, the gray road and the tree area in the back (Figure 6). Although the target object, which is camera, occupies small percentage of entire image, it leans on the main character. That part stands out by differences of color, vague and motion between backgrounds, and the camera pop-up from this main area. Thus even the target object does not have obvious characters or size; it can be supported by surrounding elements to reinforce the attraction.

Figure 6. Using visual structure will make search more efficient. There are three main visual objects in this picture.

3 Chapter 3   Structuring Two-Dimensional Space

3.1 The generalized contour

When people look at an object, they start to separate the object from the background in many different ways to distinct the boundaries of the object. The color differences, texture boundaries, and even motion boundaries can reinforce the pattern-processing.

In this picture, as be mentioned in chapter 2, the contour is detected by color and blur differences. However there are more details in the main part of picture which is left part.

First of all, there is not always an obvious contour that the edges of objects in the environment can be defined. Sometimes the elements of texture helps people to distinct the boundaries. On the other hand, if the texture is a large numbers of symbols or simple shapes are densely packed together, brain automatic thinks them as a pattern. In this picture, the background is formed by various greenish trees or plants. However, we see it as certain similar patterns, one is the cliff behind the man and another is in the left page green mountain. Furthermore, the ambiguous curve road also is seen as a pattern (Figure 7).

Figure 7. The texture is a large numbers of symbols or simple shapes are densely packed together, brain automatic thinks them as a pattern.

3.2 Interference and selective tuning

“The more the background differs in element granularity, in feature similarity, and in the overall contrast, the easier the text will be to read.”(P51)

In this picture, the man wear a greenish check coat, brain sees it as a pattern no matter the pattern is inclined or horizontal. And according our experience, we recognize that is a coat, so even the pattern does not continuous from left to right. We still consider that they are the same. However, the background differ it. We can see the pattern in the right arm easier then the left arm. Nevertheless, if we put those two parts of arm together without background, they seem to be much more similar (Figure 8).

Figure 8. The background can enhance or interference the target objects. If we see the texture of left and right arm in the left picture, the texture of right arm is clearer then left one.

3.3 Spatial layout

“Pattern perception is more than contours and regions. Groups of objects can form patterns based on the proximity of the elements.”(P56)

There are many structures in the environment, several small elements form into a large scale. When we see the image, we do not only detect the small elements but also shape the proximity elements into an overall shape. In this picture, it can be formed into certain overall shape such as an orange part, gray road part and dark area in the corner of right bottom (Figure 9).

 Figure 9. Several small elements form into a large overall scale.

Moreover, in the V4 neurons respond a strong capability of distortions. We can recognize patterns and shapes from different angles and distances. For instance, in this rotating picture, we still consider that the camera is pointing at us (Figure 10).

Figure 10. The ability to recognize a distorted pattern.

3.4 Semantic pattern mappings  

According to the reader, “we are relying on the same neural machinery that is used to interpret the everyday environment.”(P63) In the most of time, when we see the patterns, we try to figure out the relationship between them. It helps us to understand environment and communicate information easily.

In this picture, there are two numbers which are 48 and 49. There may be some order or instruction in this arrangement. As can be seen, the 48 is written in white color in the red solid circle compare to the 49 that is written in red color but in a transparent orange circle. What is more, the 48 is located in higher position (Figure 11). It shows that they have related information or a sequence. From the natural semantic concept, that lead the 48 may be more important than the 49.

Figure 11. The similar concept between 48 and 49 shows some relations or sequences.