Ian F. Hunt

Cinematographer and Filmmaker

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Media Studies – Semiotic Codes

Semiotic Codes

Personal Note

I’m going to explain what I mean by Semiotics, that is the Signs and Meanings that can be derived from a Media Artefact, by this statement I mean the signs/meanings from an image, a film or something in print.

PS – probably not a good idea to copy this example assignment as although my marks were OK at Bournemouth & Poole College they were not exceptional, beside Plagiarism is always to be frowned upon.


Semiotic Codes

 

1. You will select two media texts and analyse how a process of selection of the material to be included has taken place and how meaning has been encoded within the chosen examples.

 

Film Poster for Quentin Tarantino’s Pulp Fiction

Pulp Fiction - Film Poster Semiotic Codes

Pulp Fiction - Film Poster Semiotic Codes

Semiotic Codes
1. Old 40’s – 50’s Magazines (Pulp Fiction)
2. Femme Fatale
3. Dangerous
4. Blood
5. Unconventional
6. Smoking
7. Cheap
8. Possessive
9. Film Noire
10. Stylish
11. Desire
Pulp Fiction Film Poster

Central to the posters design is the Films Title ‘Pulp Fiction’ which also references back to cheap magazines that also went by the same name. The designers based their design upon these magazines even down to the use of the magazines price of 10¢. These books also known as ‘hero pulps’ are of personal interest to the films Director, Quentin Tarantino who is known to be a fan of what is known as trash movies and publications of the 60’s and 70’s which incorporated these style of images.
One of the central characters from the film ‘Uma Thurman’ was chosen to portray what can only be described as a Femme Fatale in a typical pose smoking a cigarette, which was very much the norm in magazines and films of the time when smoking was not seen as antisocial and in fact was positively promoted by Hollywood actors. The pose and visuals also make you think of Film Noir the Femme Fatale lying on the bed in a provocative pose, invitational but the crossed legs say no, there is also a hint of danger, identified by many visual clues but in particular by the gun on the bed in front of her.
The designers have also chosen to add the scratches and creases that a well thumbed through magazine or cheap paperback book would attract over time. Colours also have relevance to the design, the bold title on a red background makes you think of Blood. To further add to these visual clues they the designers have included a copy of a magazine of this type and placed it under the actress’s hand.

DVD Cover for the British Film ‘Harry Brown’ Directed by Daniel Barber and starring Michael Caine.

Harry Brown Film Poster Semiotic Codes

Harry Brown Film Poster Semiotic Codes

Semiotic Codes
1. Target
2. British
3. Quadrophenia
4. Iconic
5. Old School
6. Get Carter
7. Yobs
8. Violence
9. Gritty
10. British Music

Harry Brown DVD Cover

The designers have chosen several very British iconic images to attract the media consumer, starting with the red, white and blue target design, similar to that used in the British iconic film ‘Quadrophenia’ and also very reminiscent of the markings on a World War 2 fighter plane. For example the Spitfire which also provides a link to another film that starred Michael Caine ‘The Battle of Britain’. We could assume that the designers rather than by luck fully intended to link all these images with their semiotic codes together in a cohesive manner building up the message “It’s a British Film” to the media consumer.
The central character of the film Michael Caine also strikes an iconic pose with the gun in his right hand and toting a bag which could hold more guns, money or similar items associated with the ill gotten gains of a criminal, this is again very reminiscent of another Michael Caine film ‘Get Carter’ in which he also starred.
The picture of the ‘Yobs’ and drug addicts positioned behind the target representing everything that is wrong with British society today and therefore the target of Michael Caine’s character.
In conclusion the designer of this DVD cover was targeting the consumer seeking essentially a British action film containing some violence starring the iconic figure Michael Caine in one of his villainous poses.

2. You will select two media texts and provide analysis of how meanings are created through semiotic code systems. Provide analysis of how presentation techniques construct points of view (how are the individual semiotic codes combined to create an overall effect on the consumer of the text)

 

Magazine Advertisment - Semiotic Codes

Magazine Advertisment - Semiotic Codes

Antonio Federici Gelato Italiano – Advertisement for Ice Cream
Entitled “Kiss temptation”

Semiotic Codes
1. Sex
2. Religion
3. Anti Religious
4. Faith
5. Catholic
6. Anti Establishment
7. Controversial
8. Temptation
9. Forbidden Love
10. Dark

Advertisement for Ice Cream entitled “Kiss temptation”

There are several meanings hidden within this advert using semiotic coding, many of which send out conflicting messages.
Firstly there is the idea of sex between a Nun and a Priest which of course is totally forbidden (a forbidden pleasure) in the eyes of the Roman Catholic Church and its religious followers. The advertisement is for an Italian Ice Cream the home of the Catholic Church and so in its home market this advertisement would almost certainly be extremely controversial and likely to attract publicity albeit possibly for all the wrong reasons. Though it could be said that “… there is no such thing as bad publicity…”
The tagline “Kiss Temptation” that is Anchor Text also helps the media consumer position themselves and therefore identify with the product, the hidden meaning here is that to eat this ice cream is a Temptation, a forbidden pleasure.
In conclusion the advertiser is hoping that the viewer reads/consumes the media text here in a certain way that is, that they will be left with the overall impression that they will enjoy a forbidden pleasure by buying and consuming this ice cream.

LOVE – Fashion and Fame Magazine cover featuring Beth Ditto, The Gossip singer

Magazine Cover - Semiotic Codes

Magazine Cover - Semiotic Codes

Semiotic Codes
1. Sex
2. Being Fat is ok
3. Non conformist
4. People come in all shapes
5. Controversial
6. Anything Goes
7. Cold
8. Steel
9. Obsessions
10. Opposites
11. Vulnerable

LOVE – Fashion and Fame Magazine cover

Another image with several hidden messages using semiotic coding, the most obvious is “… beauty is in the eye of the beholder …” where you would expect the more stereotypical female model form, the slim and unbelievably beautiful (typically Photoshop’d) we see a naked obese women who is in direct opposition to this stereotypical image.
The Anchor Text “…Icons of our generation…” also sends out a conflicted message in regard to the cover picture although the names on right of the picture some of which for example ‘Amy Winehouse’ and ‘Kate Moss’ who are certainly seen as Icons of this time although can not be sure if Beth Ditto will be so considered.
The image itself of a naked women whose modesty? Is only covered by a few well chosen titles and a pink tutu, this should send out the stereotypical sexual message but instead rather appears to suggest more of a certain vulnerability, self-consciousness and modesty (because her eyes are shut) of a person finding it hard, struggling to accept themselves for what they are.
Other hidden messages include Cold and Steel derived from the mental strength needed for any person to portray themselves in the eyes of the public in this controversial way.
In conclusion the magazine intended to be controversial and attract attention to its cover and therefore its magazine, helping the magazine to stand out from the other magazines on the shelf. It also breaks from the stereotypical image of essentially a naked woman on the front cover of a magazine, while still catching the attention of the public and as mentioned before “… there is no such thing as bad publicity…”

Posted May 18th 2010 – Word Count = 1285

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Media Studies – Effectiveness of Media Texts and use of Language

Effectiveness of Media Texts and use of Language

1.0 Effectiveness of Media Texts and use of Language – You will compare and contrast the structural features of media texts in at least two of the following:

  1. advertising image
  2. magazine cover/newspaper front-page
  3. radio sequence
  4. TV sequence
  5. film sequence
  6. web site

You might for instance compare a magazine cover to a newspaper cover, or a TV and radio news report.

Fig1. Daily Express newspaper front page 09/04/2010

Fig1. Daily Express newspaper front page 09/04/2010

Fig.2 Radio Times magazine front cover 20/03/2010

Fig.2 Radio Times magazine front cover 20/03/2010

Daily Express

Headlines dominate the front page of the newspaper; they are designed to be attention grabbing to guide the eye from a distance as they are competing with other newspapers on the news stand. The two row headline stretches across the page uses emotive language to grab the readers attention “Petrol Hits £6 a Gallon” which is much more emotive than a headline that reads “Petrol Hits £1.20 a Litre”. The sub heading (by-line) adds to this emotive message “Fury as pump prices reach record high”. The layout of the newspaper is designed to lead the eye that is the reader is presented with a layout which the reader is intended to read in a specific order which in this case would be the headline first for petrol price hikes, the by-line heading to be read next followed by the article beneath. Although continued inside the reader would glance at the other stories (Banners) first. There is a choice of three other stories on the front page all continued inside the newspaper.

The picture of Camilla and the article associated and then followed by the two less prominent headlines/banners “Tories to bring in national service for 16-year-olds” and then “Free Inside Your full colour National Sweepstake Kit”. By comparison with the headline the Newspapers name (Masthead) is much less prominent although it does stretch across the width of the page and is positioned near the top of the page but even so because of it’s size in comparison with the headline it is therefore of lesser importance to the reader, possibly? It also includes a centralised logo of a Crusader Knight breaking up the Masthead text.

The size of text (Typography) used plays its part in this process gradually getting smaller depending on the importance placed upon the story by the editor which is related to what is called the ‘Style’ of the newspaper but all this leads the eye down the page in the order that the newspaper intended for the readers consumption. There is the overall impression that this is a serious publication, mainly due to the higher text content ratio compared to the amount of space allocated to the pictures.

Although there is no advertising as such on the front cover there is a special offer across the top of the masthead offering “15p off tomorrow’s Daily Express”.

Radio Times

The Radio Times headlines are given less prominence on the front cover, the picture used is much more prominent on the page. There are five Banners to stories within the magazine, three under the banner “The sharpest interviews in RT”

The Masthead is broken up by the picture and therefore it can be assumed that the picture is of more importance to the layout and the structure of the magazine than the name itself.

The main headline positioned unusually at the bottom of the page is used as an anchor for the picture. There is a play on words in the headline “Let her eat cake” a mispronunciation of the quotation “Let them eat cake” attributed to Marie-Antoinette, the Queen consort of French King Louis XVI. She is supposed to have quoted this when she was told that the French populace had no bread to eat. This ties in well with the picture on the front cover which is of a celebrity who introduces a Television cookery program on BBC Two which just happens to include the cooking of cakes. The two by-lines add to this “Sophie Dahl on diet modelling and marriage” and the second by-line “The delicious Miss Dahl Tuesday BBC2” which ties the headline again to the article inside and the TV program which is called “The Delicious Miss Dahl”.

In general there is considerably less text on the front cover compared with the newspaper. Colour is used to help distinguish the banner headlines from each other and there is the indication that these colours have been chosen to link into the colours used in the picture rather than for any other purpose. There’s also no advertising on the page except for the price of the magazine “Still only £1.10”. The Masthead uses a compressed text, the ‘T’ in times is actually overlapping the ‘o’ in Radio because they are so compressed. Most headlines and banners use capitals adding to their prominence on the page.

The overall effect of the layout suggests this is more of a fun magazine rather than a series publication. The layout itself leads the eye to the picture first, then to the Anchor text (Headline), then back to the Masthead with its Banner stories distributed around it. In all it’s the central picture which is used to make the magazine stand out for the rest of the magazines on the magazine rack.

2.0 Effectiveness of Media Texts and use of Language – You will evaluate the extent to which genre formats of your chosen texts affect the structure.

Daily Express

The Daily Express a general news paper rather than being subject specific has multiple genres dependent upon the stories it covers. In many newspapers the paper is divided up into sections, for example traditionally the back pages cover sports. The paper will be further divided up to cover for example Television, Film, Theatre and Arts stories. The layouts of each of these sections usually specific to their content. The Television section will have tables showing programmes against the time that they are shown. Reviews will give prominence to the reviewer depending on their standing in the community or their authority in the industry.

Radio Times

The Radio Times is designed to be more than just a TV guide and instead is more of a Lifestyle Magazine which includes information on program scheduling. So the articles in the first section of the Magazine are similar in format to most Lifestyle Magazines that is stories and interviews with celebrities TV actors and Cooking but the TV Guide section layout is set by the need to list programs against viewing times and so a formulised list is employed.

3.0 You will analyse the ways in which two different media texts use language: (is the language emotive, emotional, analytical, descriptive, agenda setting, what are the connotations, does the language promote an ideology, is there intertextuality)

 

Fig.3 Ultimate Force (TV Series)

Fig.3 Ultimate Force (TV Series)

Fig.4 Actionaid website

Fig.4 Actionaid website

Ultimate Force

The TV series shown on ITV 2002 to 2006, based on the SAS and a fictional group of soldiers called Red Troop.

Emotive language is used throughout the series of TV programs, particularly by the lead character, the leader of Red Troop played by Ross Kemp, whose character promotes an over the top Masculinity – a Macho image continuously. The program makers probably intended for the audience to assume they were seeing realistic situations and a true reflection of the SAS in action. To have some empathy with the characters, but the characterisations are larger than life and the situations they become involved in appear unbelievable.

The programs all have this ideology, the program makers and script writer’s world-view is very narrow, black and white this is shown by the assumption that there are the good guys in this case Red Troop and the other protagonists are the bad guys. The opening titles use the Hollywood sequence now popular with Action films that is ‘The long walk’ where the members of Red Troop are filmed as they walk in a line abreast towards the camera carrying their weapons prominently positioned in front of them with a large military backdrop visible behind them.

However the repeats of this series are currently being shown whilst British forces are engaged in conflict in Afghanistan and so the language used in the programs can be very emotive, for example the programs catch phrase “…Man down. Man down…” has greater meaning at this time.

Intertextuality exists in many sequences, referencing other action TV and Film productions, by keeping to a well trodden action formula, it’s almost possible to correctly guess the words the actors are about to speak in a given situation before they actually say them.

Actionaid

The charity Actionaid supports children in mainly the African or Asian continents, promoting the sponsorship of a child.

The layout of the site is very similar to a newspaper with a Headline, a central main story and Banners to other news stories which can be expanded upon by following the page links just like a newspaper links to another internal page where the story is continued. The eye is led from the top linearly down the page with each short paragraph leading to the next in sequence, then back up the page viewing the links to the right using keywords to highlight specific causes.

The language used is of course very emotive throughout, for example “…As a child sponsor, you’ll have the chance to help a whole community take control of their lives and end their poverty…” and again “…only people can change poverty and that includes you…” The language used allows the targeted audience to believe in the truth of what you see on the website backed up by its pictures of smiling children and articles from current sponsors telling their stories and experiences of sponsoring a child through Actionaid, for example “…Sponsoring a child is amazing – it isn’t just giving money. I get such a lot of satisfaction from the experience because it’s so much more personal. You really get to see the difference that you make. And I have become emotionally attached to the children I’ve sponsored over the years…”

4.0 Effectiveness of Media Texts and use of Language – You will identify and evaluate how your chosen texts construct particular points of view for specific audiences (How are audiences positioned to read a specific meaning into a text)

Ultimate Force

The audience is intended to take on board the ideology of the program that the good guys that is Red Troop will defeat the bad guys that is everyone else. The structure takes the format of an enigma which is introduced at the beginning of the show, revealing the bad guys and the criminal or terrorist act that they have committed. Red troop is made aware and a resolution is devised and acted out between breaks for advertising each of which is preceded by another enigma or cliff-hanger which is resolved just after the commercial break or at least acted upon ready for final resolution at the end of the program.

Actionaid

All of this emotive language used in the main body of the websites homepage is backed up by descriptive language for example “…Despite world leader’s commitments to halve hunger by 2015, there are more hungry people now than at any time in history. But the causes of hunger aren’t natural, they’re manmade, and the solutions are within our power…” positions the audience towards making the decision if they are able to, to become a child sponsor.

5.0 Effectiveness of Media Texts and use of Language – You will evaluate the extent to which your chosen texts assume a context of consumption. (How do the producers of the text assume it will be consumed?)

Ultimate Force

As the situations and characterisation of Red Troop appear unbelievable, therefore the audience could consume the program in a way that the program makers did not originally intend. For example the audience may see it as purely entertainment whereas the program makers were known to have employed Chris Ryan of the SAS to consult them on the real activities of the SAS with the idea most probably of adding an element of realism to the programs, to make them more believable.

Actionaid

The Actionaid website appears to achieve its intention of how the audience is expected to consume the language used in its pages very well. It uses emotive language to create empathy for the hungry children in the world and it backs this up with very descriptive language, describing how the audience can help the starving children by sponsoring a child, taking it out of poverty, helping with education and making sure that it does not suffer hunger all thanks to your generosity. Complete with all the imperatives for example “…Do something amazing today, sponsor a child with Actionaid…” and again “…Sponsor Now…”

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Film Studies – Alien Movie Film Studies assignment

Alien Movie Film Studies

Film Studies
Access CJC3FH001A: 2009 to 2010 – Group 2
Course Tutor: Brendan Kedie

  • Analysis of the film ALIEN by Ridley Scott
  • All screen shots are from 1979 Theatrical Version DVD
  • Analysis by Ian Hunt
  • Alien Movie Film Studies

Chapter 19 1:08:00 to 1:08:14


Alien Movie Slide 1

Alien Movie Slide 1

  • The opening sequence starts with a brightly lighted scene, showing  an expansive and white modern space. A safe and clean area? but the flashing amber hazard warning light gives clues to a dangerous situation. This is in fact an airlock which in space is not generally known as a safe space.

    Alien Movie Slide 2

    Alien Movie Slide 2

  • The shot then zooms out revealing a much more confined space as the airlock internal hatch is brought down closing the opening scene off. The scene now is much more claustrophobic and considerably more darkly lighted.
  • The background music is even and subdued but with an underlying pulse which simulates a heartbeat as you would hear it from say a Hospital heart monitoring device.

Chapter 19 1:08:47 & 1:09:45


Alien Movie Slide 3

Alien Movie Slide 3

  • Scene becomes much more claustrophobic and even more darkly lighted. There’s just room for Dallas to crawl through the air duct. You can just make out the track for the camera. The opening shot shows Dallas at the bottom of a long crawlspace and then in the next shot the camera is positioned much closer it then tracks back a little. Camera then remains fixed in position as Dallas crawls towards it.

    Alien Movie Slide 4

    Alien Movie Slide 4

  • Most of the light appears to come from the handheld light and the flame.
  • The shot finishes with a close up of Dallas.
  • Sound track still subdued but the handheld motion detector takes up the heartbeat sound adding to the suspense which everyone knows will lead to a climax of some sort. Or another.

Chapter 19 1:09:55 & 1:10:04


Alien Movie Slide 5

Alien Movie Slide 5

  • Close up of Ripley as Dallas requests that the hatches are closed behind him which means his escape will be cut off – no going back which adds to the suspense and that Dallas is heading towards his Doom.

    Alien Movie Slide 6

    Alien Movie Slide 6

  • Hatch closes with a scraping sound effect adding to the sense of danger. Also because of the way the hatch closes that is it irises closed going from a large opening to a rapidly smaller opening this adds to the feeling that the environment is  getting tighter becoming a very enclosed space and therefore an even more claustrophobic space than before.
  • Shot remains darkly lighted mainly from secondary sources or reflections.
  • Sound continues as before with this underlying heartbeat monitor type sound remaining at an even pace

Chapter 19 1:10:52 & 1:12:11


Alien Movie Slide 7

Alien Movie Slide 7

  • Dallas has room to almost stand up but the shot is still lighted very darkly. The only light source seems to be the flame gun and reflections from the walls of the ventilation shaft as the handheld light is placed on the floor, so it still feels very claustrophobic.

    Alien Movie Slide 8

    Alien Movie Slide 8

  • Sound begins to build as the heart beat sound increases in speed. This adds to the suspense and the feeling of imminent danger.
  • The dialogue becomes frantic between the others which adds to the feeling of closing danger and to the suspense as they lose track of the alien. Although Dallas appears fairly calm?
  • Heart rate sound increases again in frequency, the danger must be getting closer building the suspense.

Chapter 19 1:12:27 & 1:12:45


Alien Movie Slide 9

Alien Movie Slide 9

  • As the dialogue becomes even more frantic there is a close up shot of Ash lighted by the light coming from the window in the air lock showing an impassive face. This is in stark contrast to all the others who are hot/sweating and emotional. This reveals that he/it feels no emotion as the danger to Dallas increases.

    Alien Movie Slide 10

    Alien Movie Slide 10

  • Finally as Dallas incorrectly guesses which way the Alien is coming he turns around just as the Alien appears from the darkness as simultaneously the music and the heart beat sound also reach a climax.
  • The final shot of a blank screen and static informs the audience Dallas has met his end by the hands (teeth) of the Alien
  • Game over

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Graphic Design Book Cover Typography

Graphic Design Book Cover Typography

[youtube.com/watch?v=OGLzaVx-hUE]

Book Cover Research – Graphic Design Book Cover Typography

Slide 2 – Harry Potter Children Book Cover Design

Harry Potter and The Goblet of Fire Childrens Book Cover

Harry Potter and The Goblet of Fire Children's Book Cover

A stylised childlike typeface is used for the Harry Potter title, similar to a Times New Roman font.

The title is written in Red a Primary colour, used to help both identify and emphasise that this book is in the Harry Potter series. I’m not sure if Red on Green works visually.

The P in Potter has a representation of the scar on Harry Potter’s forehead a significant feature of the stories, which the reader will identify with.

The actual title of the book ‘And the Goblet of Fire’ uses similar typeface but all caps, which helps it stand out from the series title. The change in background colour assists with this suggesting the designer may have had second thoughts about Red on Green.

The target audience here is primarily children but the typeface is quite sophisticated, suggesting it could also be attractive to an adult reader.

The Authors name is printed in another and this time indented typeface, which suggests carved in stone, stamped in steel, solidity.

 

Slide 3 – Harry Potter Adult Book Cover Design

Harry Potter and The Goblet of Fire Adult Book Cover

Harry Potter and The Goblet of Fire Adult Book Cover

The same book as the previous slide but this time aimed squarely at an adult readership.

The typeface is less stylised more like a broadsheet newspaper e.g. ‘The Times’

A serif font Times New Roman font is used which targets a more sophisticated reader yet this is still a children’s book suggesting that they have identified that a proportion of their readership is Adult and rated C1 to B possible A.

The colours used are Black and White with Gold for the books Title which suggest quality.

Slide 4 – Terry Pratchett, Thud – American

Terry Pratchett - Thud Book Cover American Edition

Terry Pratchett - Thud Book Cover American Edition

This book cover was produced for the non European market (American).

Typeface similar to Arial (Sans Serif) but with some flourishes but overall seems to infer a target readership which is more used to reading comics, tabloid newspapers rather than broadsheets.

This is especially apparent in the typeface used for THUD all caps and large font.

This typeface also suggests the book is for children, which it is not. Teenagers, Young Adults and Adults tend to read this book.

The overall suggestion here is a less sophisticated readership.

Slide 5 – Terry Pratchett, Thud – European

Terry Pratchett - Thud Book Cover UK Edition

Terry Pratchett - Thud Book Cover UK Edition

UK/European version used for the cover of the same book as the previous slide. Although this time with a very obvious bias towards a more sophisticated readership.

The main title is in a stylised form of Times New Roman suggesting a previous era e.g Medieval, oldie worldly

The books title itself ‘THUD’ remains true to a Times New Roman font the choice of the broadsheets which also infers a similar sophisticated audience will read this book.

Slide 6 – Clockwork Orange

A Clockwork Orange Book Cover

A Clockwork Orange Book Cover

The cover of this book sends out completely the wrong message here.

The typeface is a simple form of Arial font (Sans – Serif) combined with the choice of colour leads you to think it’s a children’s book, comic about the circus etc.

Anyone who knows the book or the film directed by Stanley Kubrick, its violent and inappropriate subject matter would exempt a child from reading it.

There is in fact no guide here to who the book is intended for.

Slide 7 – A Journey to Paradise

A Journey Into Paradise Book Cover

A Journey Into Paradise Book Cover

Overall the choice of title typeface seems to be all wrong, it’s understated similar to Arial or Tahoma and the font size is too small.

The chosen font colour also seems to be wrong this cover seems to need a large title in a primary colour e.g Red

Due to what seems to be the wrong message being sent out by the title the publishers have added a lot of small explanation text below the picture to get the message across.

However if we assume instead that this book was targeting a more sophisticated readership then a understated title and typeface would make sense, think reference book.

Slide 8 – School for Husbands

The School for Husbands Book Cover

The School for Husbands Book Cover

The typeface suggests the 1950’s to me and France

It also looks similar to the opening titles of Bewitched

The text says school and that combined with the font choices, the height variations and mismatched characters say primary school to me (St Trinians).

As to target readership I’d say across the board but possibly aimed more at the mid 20’s, mid 30’ age group.

Also aimed at the more sophisticated reader

Slide 9 – Red Comet

Red Comet Comic Cover

Red Comet Comic Cover

This is a typical dramatic typeface for comics of the 1950’, 1960’s eras.

It’s in 3D, Red and Blue primary colours, the arch shape suggesting space flight and a comet’s tail.

Think sensationalism a dramatic headline ‘The World Ends Monday’ etc.

The text boxes at the bottom of the cover uses a typeface typical of comics of 1950’s which are still in use today and are firmly associated with this form of media.

Slide 10 – The Secret Lives of Great Artists

The Secret Lives of Great Artists Magazine Cover

The Secret Lives of Great Artists Magazine Cover

This is all about connotation

The typeface and fonts used here are pure Tabloid, sensationalism, this will be an exposé of the lives of Great Artists.

They were chosen for this purpose to lead the reader into thinking the subject of the title would be covered in this way and to make it seem more current than it is, when in fact this is really a historical look at their lives.

The chosen colours match those of newspapers and magazines of today, think Private Eye, The Mirror.

Slide 11 – Inside Linda Lovelace

Inside Linda Lovelace Book Cover

Inside Linda Lovelace Book Cover

This is not a great book cover.

The typeface would seem to be more appropriate for a book on computers and was probably used because it was in vogue at the time 1970’s.

I seem to remember this typeface, font design used on science fiction Film and TV programme titles of the 1970’s.

The text at the bottom appears to be positioned to provide a form of censorship but as it is curved it appears to have the opposite effect by following the suggestion of the curve of a breast.

This text also provides an Anchorage ‘Deep Throat’ and the image open mouth.


Graphic Design Book Cover Typography

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