- The study of meaning making
- Communicating a concept or idea using mark making, representing symbols and signiﬁers that are familiar to the viewer based upon their social and cultural associations
- “This is not a pipe” it’s a painting of a pipe
- On a view slightly below the surface, one would simply assume that this really is NOT a pipe, but simply a drawing of a pipe. A concept so simple to grasp, that even Magritte himself has once been quoted as saying,
“The famous pipe. How people reproached me for it! And yet, could you stuff my pipe? No, it’s just a representation, is it not?”
- What appears to be a linguistic misstep is really an intentional design in the way that language was put together. For hundreds of years it was believed that the names of things in a way came directly from the things themselves. That is one reason why you can look at a cultures language to understand the people of that culture better as a whole
- Realism and realistic paintings play on resemblance. Resemblance is meant to point beyond words to the object itself. It is a way of using images to bypass language to directly imprint the idea of the actual object within your head
- The visual dependence on language and cultural reference REF
- Traffic lights – red representing stop, amber get ready, green go
- This is something that has been programmed in us since we born, the colour red doesn’t mean stop but is communicated to us through our culture. Red is symbolic of danger and green communicating safety. COLOUR PSYCHOLOGY!
- Semiotics is about decoding the hidden message
- This shows through different cultures round the world how a dog can be symbolised/represented through cultures even though characteristics are so different – the idea of meaning making is repeated through different visualisations.
- None of the images before this were an actual picture of a dog but an interpretation or representation of a dog, this then allows artists to stretch the truth to make the work more interesting or visually engaging
- Artists can take this idea and use objects that could represent an idea, for instance:
I have been using semiotics throughout my illustrations to capture and represent my view on the disorder and have done so by looking at numerous artists and there interpretation on the human form. My semiotics of my character are viewed of an antagonist, the disorder itself is invisible but through the use of understanding it’s behavioural and emotional symptoms and ways artists demonstrate there representation of a protagonist, this allows me to find my own stylistic approach of how it would appear. The frame and deformity allows us to capture it as something more dark and sinister and semiotics relate to my work as I am interpreting and representing a idea to visually engage my audience to cause an emotional reaction and using images associate in everyday life to have that impact.
REFLECT BACK TO LOGBOOK – ANTAGONISTs AND PROTAGONISTS