Reading Images: The Grammar of Visual Design (2nd ed.) by Gunther Kress and Theo van Leeuwen (2006) is a comprehensive exploration of visual communication, offering a systematic framework for understanding how images convey meaning. The book builds on the Hallidayan social semiotic approach, proposing a model of three accounts for images: representational, interactional, and compositional. It argues that visual design, like language, has three metafunctions—ideational, interpersonal, and textual. The authors emphasize that visual texts are not neutral but are interpretations of reality, shaped by cultural and social contexts. The book is structured into eight chapters and a postscript, each discussing different aspects of visual communication. Chapter 1 introduces the concept of visual grammar and its relevance to understanding images. Chapters 2 and 3 explore narrative and conceptual representations, while Chapters 4 and 5 focus on interaction and modality. The latter chapters delve into composition, materiality, and three-dimensional visual communication. The authors provide a detailed analysis of visual elements such as color, framing, and perspective, and discuss how these contribute to the meaning of images. They also highlight the importance of context in interpreting visual messages and the role of social semiotics in analyzing visual communication. The book is praised for its systematic approach, practical tools for analyzing images, and its relevance to both graphic design and linguistic research. However, some critics note that the 2006 edition lacks thorough analysis of certain visual elements and may retain some questionable images. Despite these critiques, the book is widely regarded as a foundational text in the study of visual communication, offering a valuable "tool kit" for understanding the grammar of visual design.Reading Images: The Grammar of Visual Design (2nd ed.) by Gunther Kress and Theo van Leeuwen (2006) is a comprehensive exploration of visual communication, offering a systematic framework for understanding how images convey meaning. The book builds on the Hallidayan social semiotic approach, proposing a model of three accounts for images: representational, interactional, and compositional. It argues that visual design, like language, has three metafunctions—ideational, interpersonal, and textual. The authors emphasize that visual texts are not neutral but are interpretations of reality, shaped by cultural and social contexts. The book is structured into eight chapters and a postscript, each discussing different aspects of visual communication. Chapter 1 introduces the concept of visual grammar and its relevance to understanding images. Chapters 2 and 3 explore narrative and conceptual representations, while Chapters 4 and 5 focus on interaction and modality. The latter chapters delve into composition, materiality, and three-dimensional visual communication. The authors provide a detailed analysis of visual elements such as color, framing, and perspective, and discuss how these contribute to the meaning of images. They also highlight the importance of context in interpreting visual messages and the role of social semiotics in analyzing visual communication. The book is praised for its systematic approach, practical tools for analyzing images, and its relevance to both graphic design and linguistic research. However, some critics note that the 2006 edition lacks thorough analysis of certain visual elements and may retain some questionable images. Despite these critiques, the book is widely regarded as a foundational text in the study of visual communication, offering a valuable "tool kit" for understanding the grammar of visual design.