Analysis of Obama Image

Iconic, thought provoking and political propaganda. Three phrases that successfully summarise the artwork commissioned for the Hope campaign. At first glance the image can easily be construed as a general piece of propaganda supporting Obama, although the context lies much deeper than firstly identified. When explaining the context behind the image Shephard considered the way in which his image would be interpreted by that of the average American." the American public is generally pretty superficial, so an image like that just allows them to project whatever limited idea they have onto it. Shephard is confident in his response that not every American will consider his work in as much detail as himself and may enforce their own beliefs upon the image. Although some may just interpret it as purely an aesthetically pleasing image of Obama, it may in well assure them that voting for Obama is the right decision. Thus Shephards context within the image is still being projected.

When first viewing the image the principal factor in which consumes the observer is that of the colours used. Red, Navy, pastel blue and cream all emblems of the iconic American flag. No skin colour is depicted within the image as Obama is formed from the nation's colours, consequently eliminating any forms of racial prejudice against him. Establishing Obama within these patriotic colours allows him to exhibit a truly American nostalgia without connotations to his African heritage, which often override the reality that Obama is an American citizen, being born and raised within the state of Hawaii.

The outlooking gaze Obama possesses within the image embarks on the reality of America's future. The expression may be interpreted in two formats. Firstly there is the notion of Hope. Obama's offset eyes are drawn to that of the future whereby his political influence has developed his country in no way that America has previously uncovered, an idyllic sentiment at the most. The second perception of the image being much stronger in reality. The notion in which Obama's fixed stare is a result of him contemplating the hardships in which are yet to come within American. With gun crime, terrorism and global warming being factors in which he expected to resolve within the following decade a daunting task lies ahead of him. One his strong prospering body language seems to express the confidence he maintains to complete such task.

Thirdly the factor in which embeds the political campaign directly within this image is the word HOPE. Positioned lower to the image no direct attention is drawn away from Obama, but structurally raises him above the word in which is most iconic to him. The word itself seems to uplift Obama comparable to Obama's plans to lift America from their extensive deficit. The typeface used for this completion is Gotham. Shephard being a graphic designer knows vast amounts surrounding the importance of typography, and how a certain typeface is able to position an audience. This is clearly presented within the design decisions in which he has embarked. Strong similarities can be derived between Obama and the geometric typeface. Firstly, Gotham is a sans-serif and thus stands bold and prominent characteristics in which Obama successfully maintains when delivering a speech to his nation. The typeface also derives from American similar to Obama, and thus embeds further nationalism into the design. The typeface also appeared on the cornstone of the One World Trade Centre which is built on the ground in which the former World Trade Centre once stood. As the 9/11 attacks were an experience in which no living American will forget, the usage of the memorial typeface enriches the entire ideology of the poster. When placed in this context the typeface suggests that Obama is willing to maintain the safety of his people, and will use past experiences to gather further knowledge on how to do so.

Simplistic plan for essay

Introduction- what is the question? Why I chose it? what they essay is about and what it discusses.

1st paragraph-Discuss Shepard Fairey's work, specifically in relation to posters.

2nd-Discuss the relevance of posters within the modern age.

3rd-Americas demographics for politics

4th- Shephards image analysed discussing how it targets black and young people.

5th-repeat of 4

Conclusion-What effect did the art have upon the political campaign.

Obama's Hope Campaign-influence of young people

https://books.google.co.uk/books?id=rAWRAgAAQBAJ&pg=PT216&dq=obama%27s+hope+campaign&hl=en&sa=X&ved=0ahUKEwj6pZCKrNvJAhUBVxoKHRIHDvoQ6AEIPzAE#v=onepage&q=obama's%20hope%20campaign&f=false

Academic Writing Techniques

A number of authors have considered the lack of culture and personal expression through modern graphic design and it's obsessed nature of money making. Kalman (1998), Experimental Jetset (2001), Garland (2014), and AD Busters (2000) have all commented on the fact that modern design lacks personality and is frequently created in aid to source money rather than culture or experience. It is also discussed how graphics frequently lacks socially engaged work that focusing on intellectual study and rather pushes towards aesthetically pleasing work that lacks context. For instance Ad Busters discuss that creating meaningless graphic design for corporate companies not only harms design but also the environment in which we live in. 'Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles.' The above quote suggests the harmfulness and polluting effects graphic design can contribute to, and that modern designers often 'sell' a brand without thinking of the company's effects. Thus suggesting that if designers were less focused upon money making strategies and rather the empowerment of the world, the place in which we live would be overall more content.

Focusing upon the First things first manifesto (1964 & 2000), a nike trainer advert was sourced. 

Typically the ad itself is promoting the fast nature and durability of Nike, this being expressed through the fire plummeting out of the shoes rear thus mimicking the direction of speed. The typefaces used  in correlation to to the word explosive suggest something much more powerful than a trainer. Something much bigger and thought provoking. Of course these being marketing techniques, in which alter away from the reality of the Nike brand. Using high power, glossy advertisements it is easy to forget the reality of Nike and where their products are produced. The large scale advertisements distract away from the sweat shop reality of the shoes origin, and also the vast profit accessible to the company due to the exploration of others. 

Garlands article (2000), covers much ground in exploring the issues of distinction between trivial and cultural work, and demonstrates clearly the principal idea that socially engaged work helps improve the world. In doing so Garland can help us to understand the complexity of intellectual study. There is a weakness in Garlands study as although he continually contributes to the topic of art not being used purely for money, he fails to account for the fact that the majority of designers who signed the pledge, had gained substantial finance through their design career. 

Writing in Fuck Committees (1998), Kalman claimed that not only graphic design has lost all concept, but so has multiple outlets of expression including theatre and film. He also discusses the lack of cultural relevance and individual passion present within design work due to the conflict between money and solid design. He also discusses in depth how our culture has become purely a corporate culture, although stating reasonings of a modernist solution.

Practical research

The question in which I have decided to complete is how Graphic Design can be influential during periods of political and/or social upheaval. An hypothesis for my chosen question in relation to Obama's Hope campaign is how art can position an audience to have a certain outlook on  political figures, and also how specifically Obama's Hope campaign targeted a specific demographic profile. The contexts of my research interests primarily focus upon that of American politics, and the generic voter that was present during the 2008 election. An in depth approach will also be taken when looking at the artist Shepard Fairey, who developed the imagery for the Hope campaign.

Some sources I have already discovered surrounding these topic areas are listed below:

• Art For Obama: Designing Manifest Hope and the Campaign for Change
• Obey: Supply & Demand: the art of Shepard Fairey
• The rise and fall of the poster, street talk
• Art and Agenda: Political art and activism 
• http://www.streetartbio.com/#!shepard-fairey/cd7u
• thistory.about.com/od/namesff/p/fairey.htmar
• http://www.e-ir.info/2010/06/28/the-visual-culture-in-politics-the-obama-%E2%80%9Cprogress%E2%80%9D-poster/

When creating my practical work for this question, the 2016 American election will be my first point of call. In a similar way to that of Shepard, I will create a range of political posters targeting a specific demographic profile. I will experiment with multiple art techniques and may even follow the design of Shepard himself. In order to assist me with this task I will gather research surrounding the voting demographics within America, each presidents manifesto, and art surrounding previous political campaigns. I will experiment with many techniques, including some that have not yet been high profile within political campaigns. As I currently have family friends within America, I will ask them their response on the subject matter and may even get them to express my work to others, asking them for specific feedback upon the designs. I hope for my work to be completed before the 25th of March, as this is before Americas general election.

The design of decent by Tony Kushner summary

The design of decent by Tony Kushner displays an in depth over view of the influence of graphic design during Napoleons Italian campaign. Kushner depicts the leadership expressed through Gros's relationship with art, and parades how influential art can be during times of hardship. 'These posters, these works of art, have a restorative power. Each is an argument that stamps itself indelibly on the soul of the passer by'. This quote highlights that even though each individuals relationship with art is different, unity can be sourced in times of oppression.

The chapter offers an informative synopsis with critical understandings which emphasis the impact of graphic design upon the historical content examined, whilst displaying extensive knowledge upon the specific topic areas. An informative read that although displays signs of complexity, offers an indepth view on the historical and artistic issues explored within the text.

The design of decent by Tony Kushner

An informative yet critical insight into Napoleons Italian campaign.

1. In May 1796, Gros, a young miniaturist arrived with the army and overheard talk in the great Caffe dei servi, of the exploits of the Archduke, who happened to be extremly fat. He sketched an image of a soilder thrusting his bayonet into the obese Archduke's belly:intead of blood out poured an incredible quanity of grain.
2. 20,000 copies of this image were sold that evening. 
3. The uphevel turned over 3 days later, mainly due to the graphic design influence. 
4. Rather than simply overturning the greedy tyrant, Gros is also doing his own part in cementing French domination of the Milanese, replacing Austro-Hungarian/Spanish dominance. 
5. A scrap of a torn menu has been left on a cafe table, left behind for others to find, others who know what the artist knows- that a violent, unjust, crinimal order is overdue for abolishment.  

"Stendhal chooses Antoine-Jean Gros's little act of graphic design to emblematize a turning point in political consciousness"

"An image on a poster, brand new yet long expected, possesing the power of the uncanny, as if an complete stranger on the street had stepped up to you and spoken clearly something deeply familiar but also deeply private, something you belived only you or very few others like you belived."

"It is even more of a miricle that the act of forcing the imposible is, in the history of political revolution, often catalyzed by something as flimsy as a poster plastered on a wall- the perfect poster on the perfect wall at the perfect moment"

"what's miraculous is not that great graphic design, employing shock, wit, and clarity borne of urgency, can move people to action, to acts of courage and sacrafice, overcoming habit and fear. Art cant do anything but change people-but art changes people and people can make anything change"

"These posters, these works of art, have a restorative power. Each is an argument that stamps itself indelibly in on the soul of the passer by"

Visual Literacy

Within today's Context Of Practice lecture we focused primarily on visual literacy, and how as humans we have the ability to make meaning from visual componants, such as images, symbols and colours. I found this highly influencing as I wasn't consiously aware of how often I create subconcious conclusions towards design. I also resived information surrounding a global awareness for certain signs and symbols, this enabled me to discover that the only componant necessary for any language to exist is an agreement amongst a group of people globally.

We also looked in detail at visual syntax, refering to the pictorial structure and visual organisation of elements. This educated me on how not only the image itself is viewed but how surrounding images can also influence it's appearance and meaning. An example of this is shown below:

 The above symbol can be viewed in multiple ways, this includes a plus symbol, an crucafix and also health.

Whereas when a colective group of symbols are present you are much more likely to describe the symbol as a plus sign. This is due to the meaning of the other symbols embeding it's meaning.

I also discovered the meaning behind an visual synecdoche, and how one symbol for example Big Ben can represent the whole of London. When creating design for a wider audience, it is important to create common ground, therefore I found this information highly intresting and will try to use it within future projects where the target audience is universal. I belive this is why when large companys such as Mcdonalds and Coca-cola rebrand, their logos tend to follow the same format and colour pallete as previously. This is due to the large association towards their brand and personal identity.

Task 1: Comparative critical analysis

The above image is an advertisement promoting an limited addition 'Uncle Sam's range' which was commissioned as part of the centenary celebration for American independence, I discovered this information when looking closely at the image, particularity the clock face.The date 1776 is present, this is the year in which America gained independence from the British Empire.

Other ideologies within this image includes the fabricated use of the American flag which suggests a time period in which America was highly patriotic, and then consequently self absorbed. This is  openly demonstrated within the 'Bill of fair' which suggests that America has invited the whole world to dinner, which is somewhat egotistic. The script conveys a stereotypical representation of each country's food habits, including an coarse suggestion towards the Irish eating raw potatoes.

The children present are labeled Dixy, West and New England all of which were the fundamental first states. Dixy was initially the home of the slave trade and therefore the link with the servant protagonist in this image is crucial, as at the time of publication having a slave would have been highly sort over, and considered something highly desirable. When adverts are in the initial stages of development an aspirational component is usually combined in order not only to sell a product but to also sell an lifestyle. I feel that this has been highly considered throughout this advertisement as an 'easier' way of life has tried to be promoted throughout the medium of luxury.

This poster was created by the Empire marketing bored around the 1930's, in an attempt to promote the best quality's of the empire back to the British colony's and to also encourage sponsors, who's money would typically be used for infer structure projects. Within the first image the protagonists appear under strain, and their facial expressions promote a sense of dishearten, this is a juxtaposition in comparison to the lower image whereby the males appear much more lively.Also the apparent change of mise en scene, including the protagonists attire, is generally superior within the second image. This difference was consciously made by the producers in order to suggest the British influence upon weaker settlements, making colonization appear positive.


Although the two advertisements I have looked at in depth advertise completely different topic areas, they also share some comparisons despite their half a century age difference. They both outline racial issues and tensions as they both believe that their empires are the greatest, and others from less economically enriched countries are inferior. They do this by picking stereotypical aspects from a country and enlarging them, making their exaggeration the new 'norm' for the countrys representation. Specifically this is shown as set examples within each text which include: presuming that the whole of East Africa live in tribes, and also by the fair bill creating exaggerated stereotypes of country, for example, the Irish only eating potatoes.

Both of the texts also represent women poorly as they are less prominent then the males. This is specifically demonstrated  in the new style as women are not present at all, suggesting that the new world doesn't have a need for women as they are inferior. This also occurs in the first text as the only woman present is serving, therefore depicting her as much less powerful than the males.