WORD/IMAGE?

Image/Word

In our class discussion we have talked about how images and words don’t have single, fixed meanings, but rather have multiple, dynamic meanings.  “The production of a sign is dependent on social, historical, and cultural context.  It is also dependent on the context in which the image is presented…”  The context that helps determine the meaning of a word or image is created in part by the other words or images that surround it and the relationships between them.

For our first project we will start to investigate relational meaning (the meaning that emerges from the relationships between the things) through a series of simple exercises involving images and words.  We will do this with image-image, image-word, and word-word relationships.  

SOME WAYS THAT TWO WORDS OR IMAGES CAN INTERACT TO CREATE MEANING INCLUDE

1. They can reinforce or amplify each other, or harmonize. (This solution is usually not as effective as the others.)

2. They can collide, conflict, or argue to create dissonance.

3. One can change the context for the other, or they can each change the context for the other, so new or hidden meanings are revealed. 

4. The combination can provoke a question or evoke a narrative.

5. The combination can create a metaphor, where one of the items is seen or understood in terms of the other.

Your objective is to create a pair whose juxtaposition sustains the engagement of the viewer by creating multiple meanings that emerge from the relationships between the elements used.

WORD-WORD

Every day we use language to create meaning.  The vocabulary we use is a rich set of signs that, when put together in unexpected ways, can generate surprising and engaging meanings.  Select two words and place them into a 10x8 or 8x10 inch Photoshop document.  In selecting your words, remember the following:

• The words should be nouns

• Do not use abstract words, like “love” or “freedom.”  Instead use specific, concrete words like “mountain” or “paper clip.”  The nouns don’t have to be physical objects, but should be specific.  For example, “fear” is pretty abstract and unspecific.  “Anxiety” is a bit more specific.  “Disquiet,” “jitteriness,” and “angst” are even more specific.  

• Dissimilar words often work best to create relationships from which engaging, unexpected meaning emerges.

Fill the page with the two words. Explore how the placement of the two words changes how they relate to each other.  Which is farther to the left (since we read left-to-right in English)? Which is higher on the page (since we read top-to-bottom)? Try using different fonts to see how they affect the relationship.  (Avoid using fonts with such strong associations that the font’s connotations get in the way of just reading the word.  If you can say “it looks like…” and finish the sentence with something other than another font, then it is probably getting in the way.  Rosewood looks like old circus writing.  Papyrus looks like old writing on papyrus.  Comic sans looks like comic book writing.) For the double-projector exercise you used white text on a black background so we could project the white words over the images.  For this project don’t be limited to just using white text on a black background. You can use black, white, or any shade of gray in between for both the background and the words.  Select the best one to formally present and hand in.

WORD-IMAGE

Collect a library of images that is diverse in subject matter as well as aesthetics. Adjust the images using cropping, basic image adjustments and layers in Photoshop. In addition, consider implied image continuation, tonal variation, scale, proportion and orientation. The image space must fill the 10x8 or 8x10 Photoshop document. Place a dissimilar word on top of the image and locate it in the center of the page. The size of the word must be large enough to fill the space leaving about 1” on each side. Keep this consistent throughout your exercises. Explore and choose a font that amplifies the relationship. Be aware of relative value relationships between the type and the image and adjust the values for maximum effect. Convert all images to Grayscale and print the results using the B/W printer. Select the best one to formally present and hand in.

IMAGE-IMAGE

Collect a library of images that is diverse in subject matter as well as aesthetics. Using cropping, basic image adjustments and layers in Photoshop, explore placing the images next to one another using either a horizontal or vertical juxtaposition axis. In addition, consider implied image continuation, tonal variation, scale, proportion and orientation. Each image must cover at least 1?4 of the image space. This space must be designed to the 10x8 or 8x10 Photoshop document. Convert all images to Grayscale and print the results using the B/W printer. Select the best one to formally present and hand in.

IMAGE SOURCE

Images can be gathered with a digital camera or by found techniques. If images are found (either on the internet or in printed material) the source needs to be cited on the back of your project. Please remember that "found" images are inappropriate for professional materials or design work.

IMAGE QUALITY

Be mindful of digital craft. All images need to be of appropriate resolution to avoid pixelation, unless it is truly intentional!

FINAL PRESENTATION

For the final presentation, select the single best exercise for each of the three categories. Mount all three exercises on separate white illustration boards using a 3” border around the images. Use rubber cement or Super 77 spray mount to adhere the prints. Put your name, course section, and date on the back. The entire presentation package should be carefully crafted and consistent.