COP Lecture by Fred Bates

Type, Production & Distribution
Lecture Notes

Semiotic Analysis

Semiotics

Sign (Something agreed by a social consensus) - Signifier Signified - Denotation Connotation Myth.

How meaning is created, the structure of meaning.

Codes - This is England

We got into a group and read an article on Semiotics whereby we read a section on Codes. We then interpreted what we felt the article was saying about Codes, what they are and their purpose. From this we discussed together our own interpretations and came up with ideas that we felt Codes would be shown through images. We then took these ideas and applied them to an image/illustration/advert/TV clip.

From the article my understanding was based on these key quotes 'a set of basic ingredients or directions for making representations of something.' 'Organisational systems or grids for the reoccurring elements that go into the constitution of anything humans make - signs, spectacles, behaviours.' I liked the idea of it being like a recipe, something imbedded into us without us even realizing forcing us to make our own analysis. A set of directions that are converted into another form. With reference to 'Superman' in the article it gave me a better understanding of how codes make things recognizable due to predictable aspects included. For example Superman will be recognizable for his costume, the Superman sign would be recognizable in any media, in any form because this is a code. The Superman character and his love for Lois Lane would be recognizable in any way that it was illustrated.

I came up with the idea of using 'This is England' as an example of using codes because it has so many stereotypes and signs within it that we recognize as England. However, this may not a true interpretation of England at that time but it gives us a sense of the people united and their anger at society and politics by their facial expressions. Their clothing, the skin-head culture and the England flag all included as codes to embed this idea into us. Our group also suggested that codes are popularly illustrated in fairytales such as Cinderella. Aspects of the story that would be recognizable in any media, for example Cinderella with the glass slipper.

Is there a fine art to illustration? Marshall Arisman

Challenging illustration as fine art. This is quite difficult as I first have to ask myself what is the difference? What makes art fine? What makes art an illustration? What comes into my head when I think of fine art - a painting, a freedom, no meaning, or deep concepts, making art for art's sake. What comes into my head when I think of illustration - a purpose, an audience, a target, making us feel something, a story, a journey.
I came across this piece on the Association of Illustrator's website that made me feel all of those things to the point where I wouldn't be able to depict between the two. Incredible painting skills of a fine artist, emotional deep concept of a fine artist, but I feel it has a purpose, a story, trying to tell us something and make a statement and could be part of a series of illustrations. It is not an advertisement, it is not a commercial design and I feel it challenges the line between fine art and illustration.



Borja - When We Were Fab

1) Fine Art is pure

2) Illustration is the beginning of selling out
3) Graphic Design is commercial art

4) Advertising is selling - period.



Image Analysis - Compare and Contrast

Illustration designed for persuasive purposes include a range of techniques aimed to lure the audience in; for example the use of colour, font, symbolism and figures are carefully selected.
I will be looking at the Illustration of Schumacher & Ettinger ' The Uncle Sam Range ' comparing and contrasting with a poster by Savile Lumley about the Great War. I will be focusing on the choice of font style and organization, the purpose and meaning of both illustrations, the target audience and how the concept is successfully reiterated throughout the image and the social and historical contexts relevant that would influence the production of both images. This will allow me to discover how successful both pieces are individually but also the differences between both and which one is perhaps maybe more effective and why.

The Uncle Sam Range (1876) by Schumacher & Ettinger, New York was produced one hundred years after Independence Day in America - a proud and celebratory century landmark for their country as they declared their independence from the Kingdom of Great Britain in 1776. At first glance we are initially drawn to the piece by the patriotic American bright colours - blue red and white splashed along the carpets, the drapes, within the walls and clothing of the figures. We get a real sense of a country that is proud and wants to show off its capability. The bold, Texas style font along the bottom of the piece is very American. 'The Uncle Sam Range' typography taking up most of the bottom half of the page slanted upwards, which draws our eyes to a dining table full of guests that appear to be from around the world. Immediately it is apparent that this illustration is made by an American; filled with cliché American stereotypes in order to show off what America is made of and how they are capable of feeding the world. The 'Uncle Sam' type figure inviting the world to dine with him at his table, along with his very own black slave cooking the roast. As the audience we get the idea that we are being invited into this world America is creating whereby if we buy what it is they are selling, we too will live this lavish lifestyle.

America is cooking a meal that will cater to every country in the world. There is a globe-like figure holding out a list of what appears to be America's very stereotypical quite racist view on what each country and culture eats. For example Irish people only eating every single type of potatoe 'fried, boiled, stewed, roasted, baked..' But the idea is that what it is they are selling will suit every audience (or so they think). The product they are selling is a cooker, which is barely in sight as we are distracted by everything else within the illustration which tells me that it is not in fact about the cooker as a product; but more how proud America are of their country and what they produce in order to remain independent and successful enough to be able to feed the world. Here Schumacher & Ettinger are successfully portraying the concept of selling by tapping into patriotism at a point where America are celebrating their country being born and so are taking advantage of this. I believe that the illustration is aimed at men, and how they could become as successful as the 'Uncle Sam' male figure; the ultimate provider with their housewife and their slave and have everyone over for dinner if they too bought this cooker.

Similar to this I believe that the poster by Savile Lumley (1915) is also created for a male audience. The first world war took place between 1914-1918 and this illustration was created in order to recruit men into fighting the 'Great War' as a way of showing their patriotism and doing their bit for their country. It shows a man sat at an arm chair of his very English home, dressed in a suit with his daughter on his lap reading and his son playing soldiers on the floor. This poster is directed as a future image of what life could be like if the male audience were to partake in the war; it is a symbol of life after the war, a great success and a story to tell the children. England named it the 'Great War' before it was even over, as they believed they would win. The illustration includes many symbols as hints of patriotism and the war such as fleur de lise patterns on the armchair, the soldiers in red and black like the Queen's guards, roses on the curtains - all contributing to the persuasive factor. It highlights that the male audience could too be the pinnacle of an English man, the ultimate successful patriotic Englishman that fought in the war, won the battle and is able to sit at home and tell his children the story. The male figure within the illustration is also looking direct at the audience which is also a technique to 'guilt trip' men, quite patronizing as if to say how are you doing your bit for our country? A future image that men have to live up to as if they will feel embarrassed and belittled doing any other. The font in italics is used as a conversation 'Daddy what did YOU do in the Great War?' As a question from a child to their father (the audience) again making men feel guilt and a sense to do something. The 'You' is underlined and you can almost feel like you are being pointed at directly which is rather stern within this comforting middle class set up.

Patriotic imagery is highlighted throughout both illustrations as a persuasive technique to men to show the possibility of what their life could be like; with connotations that if they don't they will be less of a man. Symbolism is used throughout both whether it is reflections of the American flag or signs of armor. The choice of clothing used on the characters within the illustrations set the scene alongside furnishings that give us an idea of how our lives could be. Both illustrations give a sense that it is on men's shoulders to shape their country and the future of its success.
I feel that the 'Uncle Sam' illustration focuses less on the figures within the illustration and more on the symbolism and colour of the United States as a country; very three dimensional looking figures, bold and in your face; whereas the Savile Lumley piece is quite detailed and uses more line work and tone within the figures to make it more personal.
I feel it uses a propaganda technique and displays the idea of victory with the 'Great War' which is a positive message that is also reflected in Schumacher & Ettinger's piece as a celebration. However, I feel that one uses more of a guilt trip and personal approach targeting emotion and embarrassment whereas the other targets wealth and success and popularity as a man to persuade; both similar purposes but use different approaches.

Love / Hate

Oliver Kugler

Kugler has really influenced my work and the way in which I approach my drawings. When finding interest in Adobe Illustrator I often printed out his work and had it beside me as influence to push my digital work to a more professional level and experiment more with blocks of colour. I really like the fact that he mixes reportage illustration with portrait and creates a narrative for the characters included.

Jenny Saville

Jenny Saville has influenced me for many years when working with paint, I find her work fascinating. I love her bold use of colour and thick brush strokes to create a real texture to the flesh in this piece. She really pushes boundaries to create that shock factor within her work and question the concept of beauty. 

Rupert Van Wyk

Again similar to Kugler as a reportage artist Van Wyk has influenced my work in the sense that he reminds me to add as much detail as possible when drawing out a scene and layering things together selecting only certain areas for colour. I think that he cleverly thinks out the composition of his work too and his studies on architecture are lovely.

Tord Boontje

Tord uses paper to create furniture throws, lampshades and things unimaginable. So much precise detail has gone into his pieces they must have taken weeks to complete. I have tried working with paper for 3D designs before so I really appreciate the effort that goes into it. I think all of the designs are beautiful and they remind me to think outside of the box -  the possibility that I can create something amazing out of raw materials.

Lucien Freud

Again simillar to Jenny Saville, Freud inspires me when painting with his study of the human form and portraits. I absolutely love to paint figures and study the human form which has been supported by life drawing lessons throughout the years. I love his choice of colour for the skin tone particularly the greens in this piece as they really set the mood. His brush strokes show movement within the flesh and in particular the attention to detail when creating wrinkles in the face is fascinating.