Communication Models Final

Below are my final communication models including the analog model that became digital, the real-world example of the communication model, and the layout of vocabulary with my reflection on communication theory as a whole in relation to graphic design. What I really enjoyed about this assignment was how the way we began it was with research and studying on our own. This was then followed by an online video lecture by Professor Jamie. We jumped next to the layout of vocabulary and our reflection. This helped to put the focus on the definitions and terms for this project. 

From there we went all analog and attempted to create our own version of what the updated Communication Model would look like. I enjoyed this part the most out of the whole project, which was interesting for me, because I tend to normally move away from working analog. But I enjoyed the hands on aspect and dealing with the culture of today. The main thing that we deal with on a daily basis is noise and contextual factors. In the current age of technology, we are bombarded on so many different fronts with tons of information, most of which ends up being useless. An example of this would be all of the advertisements when online, or really advertisements anywhere. The current "youth" or older generation deals with most of their communicating online or via a computer or other gadget of technology, so I wanted to make sure that my model topic was relavant, which is how I ended up choosing an iPod and music. 

We ended the project with going out into the "real-world" and photographing a communication model that we use everyday to remind us that what we learn affects us more than we realize, often these processes and models are always around us.

Part A: Playable Communication Model

the analog to digital model

Part B: Starbucks Communication Model

the real-world example

Part C: Communication Theory Definitions & Reflection

the vocabulary

Project 1 layout

Project 2 layout

Everyday Communication Model Iteration 1

Below is my first attempt at translating my everyday communication model into a visual representation based on the iteration from last class that was chosen by Professor Jamie.

In Class Everyday Communication Model

Below are the in class iterations that I put together for depicting this communication model.

These were the 8 steps/images that I currently narrowed it down to in comparison to what I had printed/brought to class, as well as what was taken while at Starbucks.

I was looking at the layout of a simple linear mode with emphasis a bit split between photograph and  description text for the steps.

My attempt was to focus on a slightly vectored image that brought more emphasis to the main communicator and simplified the background noise.

This attempt is based off the possibility of cutting out some of the more important and singular aspects, while keeping the whole scene in form when the whole scene is important.

This attempt was based on a very basic overview/bird's eye view of the scene.

Communication Model Final

This is my final updated communication model. It is named The Playable Model of Communication. My intent was to play off of the idea that a large portion of the public listens to music, often on digital music players and I wanted to use that as my easy connection to the public. The one aspect that I was focused on during the project was the viewer interacting with my model, and being able to understand. In an attempt to make my model easier to understand I added in close-up shots of the various communication element used in my model. I added the term labels to the close-up shots. I also added in a box of text that went more in depth about the various communication elements. The text formatting of this final model piece is very similar to the formatting of the vocabulary terms and reflection layout including a use of color for the vocabulary term. 

For my initial analog model I focused on making my model look very hands on, and textured. I wanted to keep that feeling when I brought the model in digitally - so I kept the contrast on the higher side bringing emphasis to the contextual factors and the noise. I wanted to visualization to look as if they were almost competing for dominance, which they do in real life. There are always the factors and background of the communicators that effects how the message will be intercepted, plus add in the actual background that the communicator is in and the message can be easily altered.

this is the full model.

close up of the model by itself.

close up of the close up shots.

close up of the vocabulary and model name.

Communication Model Iterations

This is what I had for in class critique.

These were potential images to go with.

Two options for labeling the terms on the model.

After meeting with professor Jamie I worked more with the actual layout of my model. I took some potential layout options from her sketches and tried to focus on adding space and format to my layout.

My first layout with the main model and the zoom in shots with the vocabulary terms.

sketch of a potential layout.

sketch of potential layout incorporating space in my design, which it had lacked

Below are some of the digital options that I was working with post the second photo shoot. I wanted to find a way to incorporate space, as well as make it appear that it was purposely created space. I tested different colored backgrounds to keep the division of the chart from the zoomed-in aspects.

this was my attempt with a different layout, using an off-black.

same layout as above but with a different colored background.

my main test was making the term size larger; it proved to be too large.

went back to my original layout because it fit together more cohesively.

Communication Model Digital Version

sketches for digital communication model.

finalized digital version for class.

For my digital version I focused on the easy ability to read each component and the way that they connect to one another. My analog version focused on image where as my digital focused on text. I had some difficulty in trying to figure out how to successfully structure the terms, but I feel I was more successful than my first sketches.

Communication Model Analog Version

I am metaphorically representing the communication model as the process in which one listens to music in a closed circuit via headphones and an mp3 player.

The headphones work as communicators in the fact that they relay information that has been established by another communicator. The message that is being communicated is located in their lyrics as well as the choice in which the music is being represented.

The background of the listener, which is illustrated through the images and bubble wrap, is representing the contextual factors in this piece.

The noise is represented by the bits of aluminum cans and wire showing the noise of the environment that the listener is in.

Feedback is through the viewer’s ability to change the song or volume, as well as the ability to rate the song that would connect back to the band.


The channel is the headphones cord.

full view of Communication Model.

close-up of top of the model. 

close-up of the noise.

close-up of the bottom.

Communication Theory Layout Iterations

Possible options for the layout of project 3: Communication Theory Definitions.

option 1.

option 2.

option 3.

Process of Visual Thinking

The Process of Visual Thinking

·      We go through a daily process of seeing, interpreting and reacting

·      It is a process that was first learned and then has become second nature

·      Step by Step Process

o   Looking

§  Collecting + screening all of the visual information that is around us

o   Seeing

§  Selecting + clumping the information around us subconsciously + consciously that has often become pattern or repetitive

o   Imagining

§  Seeing what isn’t there and making comparisons to similar places

o   Showing

§  Making it all clear once we’ve recognized + understood the patterns we’ve recognized

Professor Jamie's Virtual Lecture

3 different communication theories

Shannon Weaver, 1947

·      First model – still used today although was/is not the most effective

·      How the telephone mediates a message

·      3 levels of noise

o   Technical level

§  “How accurate it is”

·      Low resolution, illegible typography, poor craftsmanship, no typographic hierarchy

o   Semantic noise

§  “How much of the message can be lost and still retain its meaning”

·      Can you still read the message if some letters are dropped

o   Effectiveness

§  “Does it stand out in the noise of the visual landscape? Is it effective?”

·      Use of good redundancy to reinforce the message + make it more memorable

o   Rhetorical devices

·      Problems with model

o   Human communication is over simplified

o   Only shows person to person communication, no more than 2 people

o   No account for feedback from the viewer/audience

o   Does not take into affect outside noise

Berlo’s Model, 1960

·      Updated Shannon-Weaver Model for Broad Television

·      Worked on a dual relationship broadcaster and receiver

·      Added psycho-cognitive linguistic issues that impacted the encoding and decoding

o   Communication skills, attitude, knowledge level, cultural/social system raised in

o   Communication skills encoded: speak, write, think, design

o   Communication skills decoded:  listen, read, reason, view, interact

o   Cultural choice of channels

o   Social or work dialect: differences based on who we’re with or where we are

o   “The medium is the message”

§  The channel that the message comes through really impacts the message and how we receive it

o   In design, messages always have the option of being obscured

§  Craft, color, style choices, ambiguous choices

o   As a designer we need to choose what channel we use

§  May be based on client budget, availability, ability to pay

·      Berlo states that there are levels that can contribute to breakdown in communication

o   Can be the viewers+broadcasters language, attitude

·      Problems with this Model

o   Not accounting for feedback from audience

o   Not accounting for environment of the audience

o   Not accounting for noise

Emmert Donaghy Model, 1981

·      Most recent model of communication

·      Can be related to visual communication

·      Priorities context and allows feedback

·      Receivers are now called communicators!

o   Both are sends and receivers

·      Message can be affected by

o   Perception, motivation and reasoning

·      Noise can be the misunderstanding of cultural references as well as technical

·      Model predates the current design culture

o   But references the current culture through the various ways of communication

·      Feedback is sales figures, votes, physical or verbal feedback

o   Allows the communicator the ability to modify the structure to be more effective

o   Can test via focus groups, critique, beta groups

·      Problems – still only person to person model

o   Not addressing complexity of models today

o   Doesn’t show evolving message overtime

Visible Signs Response

From Visible Signs: 36-38, 166

Semiosis is the process of relating a sign with the reader of the sign. The meaning that comes across of the sign will change based on the reader due to their background, education, culture, and experiences.

Unlimited Semiosis – basically the process of the reader seeing a sign relating it to another object, and this continuing in an unknown number of chains.

Value – Saussure says ‘value’ determines a signs meaning. Focus was on the sign and other signs in the same system. Signification is the transfer of meaning and this is done by using mental concepts to organize reality to be understood. i.e. “Language is a sheet of paper with thought on one side and sound on the other. We cannot cut the front of the sheet without cutting the back at the same time. Sound and thought cannot be divided.”

Visual Communication by Baldwin

From Visual Communication 21-27, 32-33

Noise – anything that gets in the way of, or distorts, a signal and potentially alters the understanding of our messages

Feedback – in communication, the method by which we know our message is being received and the effect it is having.

• Shannon + Weaver published The Mathematical Theory of Communication in 1949. It was about using methods of communication of telephones and radio waves effectively. Their theory explained how to compress and send lots of information down a channel without loosing any important parts that effect the meaning.

• Three levels of problems associated with the above communication:
• Technical – the system of encoding and decoding reliability
• Often happens before the designer is involved. Normally this is the route in which the message will be pushed whether that is radio, tv, posters, what level of press- local or national, etc
• Semantic – the way in which we choose to word the message – this is
• the designer’s level what they choose to create and how they choose to convey it
• Effectiveness – will what we stated affect the viewer as we hope it to?
• The researchers who attain feedback and figure the best way to work with the feedback to be most effective in getting their points across. This step is used throughout the whole process, prior to the launch of the design, focus groups/test groups are created to see what the reaction will be to the designs. Then, post release, researchers are used to gather feedback from the general public about the designs, which then may be edited and put back out in the public’s eye.
• Make sure when designing to have a specific audience in mind in order to effectively communicate to those that are targeted. Otherwise the design will not be as effective as it could be.

• Noise – that which is added to the signal between the sender and receiver that was not intended to be there.
• CAN BE SPLIT INTO 3 LEVELS:
•  Level A is the obvious problem – craft issues via smudges, reception, bad workmanship
•  Level B is based on the background of the receiver. The background is summed up by the social, economic, ethnic background, peers, and family. The main problems at this level are whether or not the receiver understands the message.
• Level C is the effectiveness due to how hard the message is to decipher, based on what else people are doing when interacting with the design, or other issues associated with the physical environment of the receiver.
• The idea of noise in association to design has been an issue since 1880 when the British Arts and Crafts Movement reacted negatively to the fashion design, believing that “form(should) follow(s) function.” From largly the British Arts and Crafts Movement, the modernist aesthetic was born in Vienna in the 1920s, the Bauhaus in Weimar, Dessau and Berlin in the 1930s. This then went to the opposite extreme to show that form can follow function, but it can also become so minimalist that very few are able to understand the message.
• Redundancy can sometimes make the message easier to remember/decipher although at other times can make it more difficult to remember the message.

What is a Model Response

Models are metaphoric representations of an object or event in an abstract form (often these are represented by pictures).

·      Models allow us to question, clarify and discover.

·      Models can oversimplify.

·      Models can cause confusion to the viewer if they do not have the correct information to decipher the chart. The viewer has to understand the metaphor that is being used in the mode of communication, if it is taken as literal, the viewer will be confused and wrong.

·      Aristotle’s Model of Communication

o   Aristotle believed that  “Rhetoric” is “the faculty of observing in any given case the available means of persuasion”

o   Quintilian (ca. 35-95 A.D), was a roman educator who affectively used Aristotle’s theory of rhetoric to create a training method for a good speaker

§  Discover the proofs, arrange with purpose, clothe the ideas in a clear and compelling form then effectively deliver the product.

·      Aristotle’s Model of Proof according to Kinneavy

a.      Logos, inheres in the content or the message itself

b.     Pathos, inheres in the audience

c.      Ethos, inheres in the speaker

·      Shannon-Weaver Mathematical Model, 1949

o   Claude Shannon designed the most influential early communication models at Bell Telephone Company.

o   He found the most efficient way to transmit electrical signals from one location to another then later created a part in the receiver that corrected differences between transmitted and received signals.

o   Entropy – how much uncertainty is within a given system.

o   Redundancy – the degree to which information is not unique in a given system.

o   Noise – the amount of information not related to the message. This goes from electrical to psychological interferences with the original message.

o   Channel Capacity – the maximum amount of information that a channel can transfer.

·      From Stephen W. Littlejohn’s Theories of Human Communication.

o   “Information is a measure of uncertainty, or entropy, in a situation. The greater the uncertainty, the more the information. When a situation is completely predictable, no information is present.”

·      Berlo’s Model of Communication

o   “the simplest and most influential message-centered model of our time” - Ehninger, Gronbeck and Monroe

o   Adapted from the Shannon-Weaver model

o   Source encodes the message, message goes to the channel and decodes to the receiver.

o   Was significant post WWII

§  Flexible system to include oral, written, electronic and other symbolic generated messages

§  Model put focus on receivers being very important to communicate

§  Weakness – implies human communication is just like machine communication

§  Stresses that most problems in human communication can be solved by simply choosing correctly

·      Schramm’s Model of Communication, 1954

o   One of first to mathematically alter the model of Shannon and Weaver

§  He decided that the sender and receiver should both decode and encode activities + started the way for a two-way message exchange

§  Main weakness was that the model was still only for two parties, no more.

·      Dance’s Helical Spiral, 1967

o   Communication is depicted as an active process. It is constantly moving forward, yet a bit dependent on the past. Thus a flexible communication process is created.

o   Mortensen: “The helix represents the way communication evolves in an individual from his birth to the existing moment.”

o    Weakness – may not be a model according to scientific standards, due to few variables

·      Westley and MacLean’s Conceptual Model, 1957

o   They realized that communication begins when an individual chooses to respond to his/her physical surroundings

o   Strength – allowed for more than simply two people to communicate directly, allowed for feedback

o   Weakness – although it accounted for more variables in typical communication, it did not account for multiple dimensions of communication

·      Becker’s Mosaic Model, 1968

o   Becker believed that most communication connected messages from more than one social situations via TV commercials, public debates, coffee-shop banter, daydreaming, etc.

o   The reference to the receiver that constantly changes cube/mosaic information. Layers of the cube respond to layers of information.

o   Strength – complexity of communication influenced by constantly changing climate

o   Weakness – does not account for more than 3 dimensions in a communication event

·      Functional model, 1951

o   Ruesch and Bateson believed that communication simultaneously functioned at four levels of analysis

§  Level 1 – basic intrapersonal process

§  Level 2 – interpersonal + focuses on overlapping fields of experience.

§  Level 3 – is group interaction, encompassing many people in one location

§  Level 4 – large groups of people

·      Barnlund’s Transactional Model, 1970

o    Most systematic functional model according to Mortensen

Strength - The way that transactions are presented, communicators give meaning to the events in ways that are clear and unique

Weakness – this chart assumes that communication and meaning are the same

·       A Systemic Model of Communication, 1972

o   A change in one part of this model would change the whole system

·      Brown’s Holographic Model, 1987

o   An argument is like a hologram because you are unable to see all sides of the argument at once – only parts of it are highlighted at once.

·      A Fractal Model

o   Benoit Mandelbrot was interested in using irregular shapes in mathematical formulas

o   Thus he created a term called “Fractual” to be a simple repeating shape that’s created by the same formula

o   This lead to a change in computer graphics, using the fractal formula natural looking virtual landscapes could be created

o   Fractual geometry is related to chaos theory (which is used in computer generated landscapes, washing machines, and the stock market)

o   In relation to communication, we are able to see the almost infinite mass that makes up a communication event