Walking sideways…
SEPTEMBER 8, 2010
BLOG RESPONSE 2-CH. 3
When observing the American Apparel Ad, the viewer is able to determine a clear focal point; clarity is always a good indication that the image has a strong composition. While reading Chapter 3, I was able to pin point specific aspects of the image I chose, that correlate directly with Rose’s discussion on composition. Spatial organization, the importance of color, logic of configuration, the image’s content-both emotionally and compositionally, and the negative and positive space relationship are all different elements of composition that I was able to observe in my chosen image.
In this chapter Rose stresses the importance of composition. She poses an argument that discusses compositional value in an image over the importance of the artist’s social meaning, feeling, or fame behind an image. It is a basic format that explains how to realistically have a ‘good eye’ for art and imagery, without having to know all the fluff behind each piece. More art appreciation, less art history.
Reading chapter 3, there was a lot of commentary on compositional elements of an image. One of the things Rose discusses is spatial organization. Upon studying this image, it is obvious that the layout is very simple. The minimalistic background, forces the viewer to focus in on the highly contrasting figure to ground relationship. There are no distractions.
It is also important to recognize the color relationships that this image displays. The model is dressed in black lace, and all the text surrounding her is in black, while the background is stark white. She, however, is obviously a natural human skin tone which makes her stand out even more so in the image. Her highly contrasting view has a strong link to an element the book called ‘logic of configuration’ which, explains the way an image’s layout can force the viewers eyes to see the it in a particular way, and from a specific position. Here- we are forced to look directly at her, because that’s the way she is placed in the space, and it is the way she is ‘looking at us’.
Rose discussed in the text that it is important to look at the image and be able to ask yourself, as the viewer, (as well as answering as the viewer) what is really being shown here? Observing this particular image (we can be literal—just about everything is showing– seriously there’s no way this can be worn in public. Unless maybe you walk sideways everywhere, and have a person walking on either side of you…hmm that’s a thought) one can see her pose which only reveals what is wanted to be seen, as the viewer you are supposed to think outside of the image; in this case, think of how this lace onesie would look on you; or how it looks when standing normally, etc. The image also shows a sensual pose and expression on the model’s face; this is another aspect of the content of the image but it also touches on what Rose called ‘expressive content’. It is suggesting that she is sensual, but as the viewers we cannot actually see or tell if that’s how she is actually feeling, the image can only show so much.
As I mentioned in the previous blog, her pose creates a beautiful composition, the negative space is just as interesting as the figure. The minimalistic nature of this image is there for a reason; there is no need to flood the page with décor or other imagery.
It is interesting to see the way other people break down ideas like ‘composition’ into their own words. It was even more interesting to break down an image using Rose’s ideas of composition to explain my own thoughts about the compositional elements of this image. After reading through the chapter I began realizing how psychological design composition can be. As artists we’re forcing the viewer’s eyes to go wherever we want them to go. Creating successful compositions creates an opening for interest, growth, and originality, which in turn affects all design elements.
