REcall Venice: Exploring Disciplines of Visual Literacy through Difficult Cultural Heritage

This contribution argues about the principles of active participation in visual communication. Normally, such a visual communication has been reserved only for the professionals from the media design, as a general public mostly does not feel competent to communicate visual functions. We do reconsider elementary questions of visual sign language and its implementation within the effort for fostering students to learn how to apply these visual means in daily practice. As visual means, we might shortlist a line, surface, shape, contour or volume etc. These visual means neither have a distinct implementation, nor the minority of the population is being competent to approximate these elements to original individual visual design. Gradual change in the discourse on visual language has been led foremost about the generalization and simplification of this visual language that empowers the individual in the orientation in the structure of this visual language, and equally in the learning of new visual means. In this paper we will discuss the paradoxical situation where the design of visual message on the principle of relational design in various structural levels is generally more accessible than a complex visual construction, designed as only additively established parameters in a visual message—the articulation of the volume, texture, and lights set up in a single image—as quite naturally connects with the means how the imaginary functions with the human since the childhood.