image and word
Word and Image Links
William Blake's Mariage of Heaven and Hell
Jenny Holzer's Truisms
Language Art-Guggenheim
image and text learning objectives
Through a series of exercises using image and word relationships, an investigation into the meaning will be explored. The variations will include word-word, image-word, and image-image relationships. Successful projects will establish a distinct collision of experience and meaning, introducing a complex set of ideas while sustaining interest and curiosity. The relationships may take varied forms and operate at varied speeds.
Some ways that 2 words or images can interact to create meanings:
1. They can reinforce or amplify. A form of this would be harmonize. (This solution is usually not as effective as the others).
2. They can collide, conflict, or argue. A form of this would be dissonance.
3. The combination can change the context or reveal something hidden.
4. The combination can create a metaphor.
5. The combination can provoke a question or evoke a narrative.
METAPHOR: The most powerful combination
A metaphor is a comparison made between two seemingly unrelated objects. It is a transference of one object’s characteristics onto another. A metaphor is strongest when the two objects display the greatest dissimilarity while still suggesting a connection. Understand that a simile uses the words “like” or “as” to create a comparison between two unlike objects, a metaphor does not. A metaphor “is” the other, not “like” the other. This concreteness gives the metaphor its power. The literal impossibility of the comparison creates a situation that requires a leap of imagination on the part of the viewer/reader.
See below for some quotes to further define and defend the use metaphor:
- “The greatest thing by far is to be a master of metaphor. It is the only thing that cannot be learned from others; it is also a sign of genius, since a good metaphor implies an eye for resemblance.” —Aristotle
- “ a good metaphor implies an intuitive perception of the similarities in dissimilars.” —Aristotle 322 B.C.
- “… it’s as beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella.”— Isadore Ducasse AKA Comte de Lautremont (1846–70)
- “ The image is a pure creation of the mind. It cannot be born from a comparison but from a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be—the greater its emotional power and poetic reality… ”— Pierre Reverdy 1918
- “ In the simplest formulation, when we use a metaphor we have two thoughts of different things active together and supported by a single word, or phrase, whose meaning is a resultant of their interaction.” —I. A. Richards
- “ The main point in this look at poetic metaphor is that metaphor creates the new, it does not embellish the old… This process, in essence, is the poet’s genius – the combining of old words in new ways to create new meanings.” —Sally McFague
- “… to be a master of metaphor is to be able to read beyond the literal meaning of a phrase, and to be able to concoct one’s own effective metaphors. To be able to discern a metaphor in a piece of literature depends on one’s own ability to make a connection between two seemingly unlike objects and find their commonality. This perceptiveness is the sign of a genius that Aristotle speaks of.” — Sally McFague
WORD-WORD RELATIONSHIPS
Since we all speak the same language and use it everyday, begin creating relationships by selecting two dissimilar words and place them side by side on an 8-1/2 x 11 page. Be certain that a connection exists between the two dissimilar words. Numerous different connections may even exist. Use only nouns. Do not use abstract words like "love” or “freedom,” instead use concrete words like “mountain” and “paper clip.” Fill the page with both words leaving about a 1” of space on the sides. Consider and explore how the spacing between the words affect the relationships. Spend some time looking at the designs of the supplied fonts on the computer. Select different fonts for each of the exercises, exploring the notion of similar differences. Place the words in the center of the page. Select the best one to formally present and hand in.
WORD-IMAGE RELATIONSHIPS
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 be designed to fill the maximum printable area of the 8-1/2 x 11 page. 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 RELATIONSHIPS
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 fill the maximum printable area of the 8-1/2 x 11 page. 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 sited 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 pixelization. Please see Photoshop Help for a review of the issues we covered in the studio.
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.
DEADLINES
Due dates will be assigned in class as the project progresses. When a final due date is given, all works must be completed as described in the Final Presentation section above.
(original project by paul Wittenbraker, contributions and improvements by krista connerly and brian schorn)
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