WP3: Final Draft

Author's Note:


Throughout this semester I have been challenged to analyze forms of expression and the arguments they portray. For Writing Project 3 I could’ve gone about this the traditional way with a literary paper, or choose the unorthodox option of writing a letter addressed to my sculpture. I chose the latter because I felt it would be more of a challenge and implemented more room for creativity. In order to effectively create a letter to Story I needed to gather some background information. This included researching his father (the artist William King) and the variety of contexts that surrounded him. My first impressions of Story focused on the leg jutting out and the cigarette in his right hand. One of the reasons I chose this sculpture was because I found the leg somewhat comical in contrast to the rest of the body and the cigarette fairly amusing.

The more time I spent with this sculpture, the more I was able to dissect it and view it in different manners. Seeing a variety of people walk to and fro made me ponder how Story viewed these people. Analyzing context was a major factor in putting together my letter. Being outside and open to the elements made me question items such as material used, location, and arrangement of the piece. Story is placed in a wide stretch of open grass that juxtaposes greatly with his aluminum frame. This clash of hues was one of the reasons I was so intrigued by this figure.

When writing a letter certain concepts come into play. Obviously a familiarity between the two correspondents is necessary and this relationship dictates the dialect used when conversing. I viewed my relationship with Story as sophisticatedly casual. Story portrays an ethos of intelligence and class yet with a calm aura present. Therefore, I approached my letter as though we were two retired professors conversing about meaningful issues. The language is educated yet references to popular culture are scattered throughout the correspondence.

One challenge was addressing Story’s creation and journey to the Sheldon Art Museum without “telling” Story this information. I accomplished this by referencing nostalgic moments or referring to William King as Story’s father. In order to employ some of Story’s rhetorical appeals into the letter I would reference a memory we shared together and slyly slip in some of the concepts from CDA.

Oral communication has the potential for the most audience impact since you are speaking directly with your audience. In order to maximize my performance I must employ the use of gestures, varying tones of voice, and eye contact. When performing, I plan to mainly address Story but on occasion I will turn to the audience. For some of the lighthearted moments or rhetorical questions I will face the audience in order to break the “fourth wall”. When addressing certain parts of the sculpture I will point or caress that portion of Story. I must also physically move around Story to show the audience that this is a three-dimensional figure that can be viewed from multiple angles. Speaking loudly and clearly is a must to evoke an ethos of confidence. Finally, when posing as Story I plan to position myself a few feet away, yet parallel to the figure. I will have one leg extended greatly and my right arm held tight to my body with a cigarette in hand. Hopefully I can hold that pose for the required amount of time without laughing or breaking character.



Statement of Purpose

Rough Draft


Dear Story,

I was first drawn to you from afar by your extraneous leg protruding into the green abyss of grass. Even though this extremity seemed phallic, I knew it was a characteristic of the opposite sex due to your pop’s love of the ladies. Your father Billy was very fond of his mother and was impacted greatly by the numerous wives he encountered throughout life. Portraying women as powerful, he aimed to accentuate their most magnificent features. We all know women can stick out their majestic legs to grab cab rides, right Story? Other than that leg though, you’re very hermaphroditic. This shows that your father wanted to conglomerate all the styles of his work into one entity- You!

That cigarette you’re holding isn’t just for a quick high. It categorizes you as a figure of society. Your father loved to emulate everyday gestures and then alter the proportions of the body parts to portray an argument. Poking fun at the elite and political icons was a unique pastime of your old man. Using familiar gestures like playing cricket or a team huddling up helped create a familiarity between the viewers and the sculptures. It also juxtaposes human warmth and the artificiality of people in social situations. When I first met you I felt a connection due to your human like outline, yet right from the start I knew you weren’t normal. An extremely skinny leg with an elongated foot was a dead give away. You really inspired me Story to question what is “normal” in modern society. With the media having more impact then ever, it is almost essential to have symmetrical arms and legs that are exactly the same size. Also women must have a voluptuous figure and men a muscular tone to appear “normal”. With so much pressure on a attaining a specific image maintaining individuality is washed down the drain. You’ve shown me that being myself is important and my actions influence the story of my life.

Do you mind if I borrow your leg and right arm for a bit Story? I’m just joking we both know you’d only be a thin, 2-dimensional slate of aluminum if I did that. You are a conglomeration of otherwise meaningless pieces, classic King style. That puzzle-like ethos of yours reminds me of when your father worked in the airfields patching together wrecked planes. As we all know, puzzles need clearly defined pieces and your body parts all have defining and rounded outlines. Although this may not be realistic, it sure is eye-catching!

I remember the first day I met you it was bright, sunny day. That aluminum coat of yours shined brightly and really caught my eye. From a distance it looked like a uniform covering, yet with different degrees of light intensity I could spot some of your flaws. Slight differences in hue show that you are not as clear cut as you appear to be. That’s part of your plan though and necessary for survival in these adverse conditions. Even though you are on the thin side, you’re durability is impressive. You’ve withstood many frigid Nebraska winters and harsh summers. It’s interesting that you are durable, yet evoke an ethos of fragility. When compared to your neighbors you appear emaciated and anorexic, yet you bear little evidence of the strenuous journey you have endured.

Remember that one session we had together where your right arm was swinging slightly in the wind? I was astounded at how that juxtaposed with the foundation of your foot. You are full of contrasting elements such as these which are congruent with your father’s life. Stuck in the moment, you exhibit a conflict of desires. The long extension of your leg shows that you yearn for the freedom of discovery, yet your right arm is bent closely to your body evoking a sense of leisure and relaxedness. This never-ending struggle symbolizes how your father was always torn between doing the tried and tested method or venturing into unknown territory. It is similar to your brother “Self” who also represents a massive change in your father’s style. As you know, “Self” denotes a switch to the long-legged figures and disproportionate brothers you are so familiar with.


Now Story I know you can’t keep your head on a swivel, but have you noticed how isolated you are? The Lied Performing Arts Center and the Kimball Recital Hall box you in on two sides and an array of benches lay to your left. The closest piece of art to you is Torso which is behind you, so you can’t really communicate. That’s why you must wet your social appetite by observing the daily lives of others. Remember when we were having a pleasant conversation when all of a sudden two busloads of fourth graders rolled up for field trip? They thought I was strange for lying next to a giant sculpture, but I was more worried about you. I mean, smoking a giant cigarette near children, really Story? What kind of message are we sending to kids? Hopefully those kids were entranced with your massive leg and bypassed the stick of sunshine in your right hand. Nevertheless, you are exposed to hundreds of diverse people every day. How do you deal with all the attention? Part of you wants the attention and maybe even to venture into the street and mingle with these people, while the other part wants to stay in place and watch life drift by.

Story, I have been blessed to have met you. You are special. I know this because your uncle Blake King donated you in honor of the former director of this museum. That is quite a prestigious accomplishment! You have shown me that being an individual leads to a more vivid and exciting life story. Through knowing you, I have discovered some of the internal conflicts that I deal with on a daily basis. Do I continue to get the number 7 combo at Taco Bell or should I branch out and purchase a $5 Box that supposedly rocks? The magnitude of your leg suggests that I should take a leap of faith and divert from the mundane. I always try to challenge myself, but sometimes I become complacent. Thanks for keeping me on track Story. Genius will be imitated, and I will imitate you both physically and mentally.


Your beloved friend,

John

WP3: Rough Draft 1

Dear Story,

I was first drawn to you from afar by your extraneous leg protruding into the green abyss of grass. Even though this extremity seemed phallic, I knew it was a characteristic of the opposite sex. Your father Billy was very fond of his mother and was impacted greatly by the numerous wives he encountered throughout life. Portraying women as powerful, he aimed to accentuate their most magnificent features. We all know women can use their legs to grab cabs, right Story? Other than that leg though, you’re very hermaphroditic. This shows that your father wanted to conglomerate all the styles of his work into one entity- You!

That cigarette you’re holding isn’t just for a quick high. It categorizes you as a figure of society. Your father loved to emulate everyday gestures and then alter the proportions of the body parts to portray an argument. Poking fun at the elite and political icons was a unique pastime of your old man. Using the familiar gestures helped create a familiarity between the viewers and the sculptures. It also juxtaposes human warmth and the artificiality of people in social situations. When I first met you I felt a connection due to your human like outline, yet right from the start I knew you weren’t normal. An extremely skinny leg with an elongated foot was a dead give away. You really inspired me Story to question what is “normal” in modern society. With the media having more impact then ever, it is almost essential to have symmetrical arms and legs that are exactly the same size. Also women must have a voluptuous figure and men a muscular tone to appear “normal”. With so much pressure on a attaining a specific image maintaining individuality is washed down the drain. You’ve shown me that being myself is important and my actions influence the story of my life.


Do you mind if I borrow your leg and right arm for a bit Story? I’m just joking we both know you’d only be a thin, 2-dimensional slate of aluminum if I did that. You are a conglomeration of otherwise meaningless pieces, classic King style. That puzzle-like ethos of yours reminds me of when your father worked in the airfields patching together wrecked planes. As we all know, puzzles need clearly defined pieces and your body parts all have defining and rounded outlines. Although this may not be realistic, it sure is eye-catching!

I remember the first day I met you it was bright, sunny day. That aluminum coat of yours shined brightly and really caught my eye. From a distance it looked like a uniform covering, yet with different degrees of light intensity I could spot some of your flaws. Indifferences in hue show that you are not as clear cut as you appear to be. That’s part of your plan though and necessary for survival in these adverse conditions. Even though you are on the thin side, you’re durability is impressive. You’ve withstood many frigid Nebraska winters and harsh summers. It’s interesting that you are durable, yet evoke an ethos of fragility.

Remember that one session we had together where your right arm was swinging slightly in the wind? I was astounded at how that juxtaposed with the foundation of your foot. You are full of contrasting elements such as these which are congruent with your father’s life. Stuck in the moment, you exhibit a conflict of desires. The long extension of your leg shows that you yearn for the freedom of discovery, yet your right arm is bent closely to your body evoking a sense of leisure and relaxedness. This never-ending struggle symbolizes how your father was always torn between doing the tried and tested method or venturing into unknown territory. It is similar to your brother “Self” who also represents a massive change in your father’s style. As you know, “Self” denotes a switch to the long-legged figures and disproportionate brothers you are so familiar with.

Now Story I know you can’t keep your head on a swivel, but have you noticed how isolated you are? The Lied Performing Arts Center and the Kimball Recital Hall box you in on two sides and an array of benches lay to your left. The closest piece of art to you is Torso which is behind you, so you can’t really communicate. That’s why you must wet your social appetite by observing the daily lives of others. Remember when we were having a pleasant conversation when all of a sudden two busloads of fourth graders rolled up for field trip? They thought I was strange for lying next to a giant sculpture, but I was more worried about you. I mean, smoking a giant cigarette near children, really Story? What kind of message are we sending to kids? Hopefully those kids were entranced with your massive leg and bypassed the stick of sunshine in your right hand. Nevertheless, you are exposed to hundreds of diverse people every day. How do you deal with all the attention? Part of you wants the attention and maybe even to venture into the street and mingle with these people, while the other part wants to stay in place and watch life drift by.

Story, I have been blessed to have met you. You are special; I know this because your uncle donated you in honor of the former director of this museum. That is quite a prestigious accomplishment! You have shown me that being an individual leads to a more vivid and exciting life story. Through knowing you, I have discovered some the internal conflicts that I deal with on a daily basis. Do I continue to get the number 7 combo at Taco Bell or should I branch out and purchase a $5 Box that supposedly rocks? The magnitude of your leg suggests that I should take a leap of faith and divert from the mundane. I always try to challenge myself, but sometimes I become complacent. Thanks for keeping me on track Story. Genius will be imitated, and I will imitate you both physically and mentally.


Your beloved friend,

John

WP3: Statement of Purpose

Assessing a sculpture, especially one as complex as “Story” can seem like a daunting task. The three main concepts to consider when forming a purpose are medium, context, and audience. All of these play a vital role in supporting an argument that the viewer can assess.

Out of all types of art, sculptures have the most freedom and flexibility when comes to choice of medium. A single substance may be used or a conglomeration of materials can be forged together to create an image. In the case of “Story” a single substance, aluminum, is uniformly distributed throughout the sculpture. This is a common element in today’s society and can be seen fairly clearly in all degrees of brightness. On a sunny day aluminum can brighten the area around it by reflecting sun rays or cast lengthy shadows on both itself and the ensuing ground. Being both light and thin, aluminum portrays a fragile ethos that is easily swayed with the slightest gust of wind. This increases its ability to be manipulated and contributes to King’s affinity with disproportionate body parts. One important factor to consider is that the sculpture is man-made evidenced by the bolts connecting both the base and foot to a concrete block. The modern materials juxtapose greatly with the surrounding green grass.

After analyzing the medium of the sculpture, one must analyze the medium of the writing project. I will be writing a letter to my sculpture which implies a certain sense of familiarity between the two of us. It will be a challenge to both inquire about the recent activity of my friend and analyze its rhetorical strategies. Use of flashbacks and references to his father (William King) will be in order to smoothly concatenate both concepts.

Context plays a major role in this sculpture’s argument, most notably in its outside presence. It is vulnerable to the elements and therefore must exhibit a certain degree of sustainability. Even though “Story” is made out of thin aluminum, it still holds up even during the winter months. The straight cut sets of the sculpture enable rain drops to just roll off the surface without any lasting impact. Along with the aesthetical context, there is the historical context to consider. William King was very partial to long-legged figures and was extremely fond of his mother. He also liked to portray figures in an everyday gesture, which in this sculpture is embodied by the cigarette. Knowing the background of the artist can significantly help with uncovering the argument.

Finally, I will need to consider my audience when conjuring up this letter. My primary audiences are “Story” since I am addressing the letter to it and Mr. Ware because he will be evaluating my letter. There are numerous secondary audiences such as my peers, people strolling by during my reading, and anyone with internet access. Letters are personal pieces of writing and usually contain subtleties that only the two correspondents are familiar with. I must walk a fine line between creating a personal relationship between “Story” and me and making it accessible to an average person with limited art experience.

By considering the medium of my piece and letter, context of my sculpture, and multiple audiences I can develop a statement of purpose. My goal is to show that “Story” is a stereotypical King piece that embodies his prominent methods post-“Self”. It can be viewed through multiple lenses including historical and contextual. The wacky proportions of “Story” embody King’s strange journey through life and how he sees the world.

WP3: Fourth Post

After researching the background of my sculpture and its sculptor, my perceptions of “Story” have altered dramatically. William King grew up in Florida where his father was an engineer and his mother a school teacher. He father actually built the house that they lived in which inspired William’s brother Blake to become an engineer. His father dealt with many bits and pieces and was able to construct them in a suitable manner. This heavily influenced King’s work through set pieces that had slots to connect them. Researchers have divided King’s career into two sections, before “Self” and after “Self”. During his first ten years he constructed sculptures that were based on observations of people. He used abstraction to convey satirical or political arguments. However, most of these pieces were one entity and were made out of similar materials. The 1957 sculpture “Self” was a career defining creation that embodied both his past work (abstraction of observations) and future work (attached and assembled creations). I feel as if “Story” and “Self” are cousins because the both employ long legs, a fragile appearance, a uniform outer skin, and a mock-hero contemplating his life story.

King had many influences in his life, but one of the most prominent was his mother. Viewed as a powerful and respected woman by King, his mother told him to follow whatever path he wanted. One grand example of this is when his mother gave him $100 and told him not to come back to Florida for 20 years. She wanted him to chase his dream of becoming an artist and for him to create his own path. It seems that he had a deeper connection with his mother than his father, possibly because his father worked long hours and was more compatible with his brother, Blake. In his sculptures, King portrays women as powerful and confident with abounding charm and delight. Men are shown as exaggerated beings bent on success, even if that requires rudeness or aggression. Women are shown as more straightforward while men will put on “societal disguises” to get what they want. Using this information, I am still a little divided when assessing “Story”. While the sculpture does comply with King’s affinity for “figures of society”, it has attributes of both sexes. Evidence such as the cigarette and disproportionate body parts point to a male character, while the long leg symbolizes power and is usually a trait of women. However, when one factors in that he was heavily influenced by the females in his life the decision leans in the feminine direction.

Overall, this is a classic King piece for the post-“Self” era. It embodies his juxtaposition of human warmth and social artificiality and contains set pieces that have been crudely put together. Taking simple human gestures and flipping their meaning upside down is a King trait that is present in this sculpture. Also, using aluminum helps contribute to a lightweight and delicate feel that appeals to pathos of delight and lightheartedness.

WP3: Third Post

With the sculpture I selected, there are multiple ways to analyze its rhetorical strategies, appeals, and concepts. One prominent feature in the sculpture is the use of shadows. When the shadows change, so does the rhetorical argument. During one session with my sculpture, the shadow from the massive leg made it seem as if the figure was crossing its legs and indeed had two legs. This contributes to the reality of the figure and is interesting that it only occurs at certain time periods during certain days. When viewing the figure from the right side I noticed a multitude of new rhetorical appeals that contribute to a variety of arguments. First of all, I observed that the leg, especially the between the knee and ankle, was extremely emaciated. Yet when I directed my eyes to the foot I was shocked at how elongated it was. The juxtaposition between the elongated foot with a bump on the top and the smooth, thin leg was intriguing and perhaps represents that the first step in doing something is the largest. Another juxtaposition I noticed was between the arm that was in close proximity to the torso and the leg which extended far from the torso. I felt as if there two conflicting feelings within this figure. One persona wanted to stay sitting and relax with a cigarette while the other wanted to leave this safe haven and explore the world. However, it was ironic that the foot was supposed to represent freedom, yet was bolted down, not able to move. The arm was loose and could swing with the wind, yet wanted to stay close to its owner and safety.

When viewing the figure from the side and a little behind I became aware of how prominent the shoulder blade was since it protruded to a great extent. It made me wonder if our shoulder blades really stick out that far. The buttock was also blown out of proportion and had small indentations so it wasn’t a perfect curve. I was intrigued because the shoulder blade gradually descended into the back while the buttock was simply a semi-circle with no smooth connection between it and the torso. This piece tinkers with our normal perceptions of body parts and challenges us to question what is “normal” or “attractive”.

One final concept is the presence of two bumps on top of the cigarette. It is assumed that the viewer recognizes these as two fingers holding the cigarette in place. In society the accepted way to hold a cigarette when smoking it is with one’s index and middle fingers. If one looks closely though, the picture doesn’t make sense. Looking from the side, the cigarette is visible with two bumps above it (the fingers). However, in reality only one finger would be visible with the view of the other one being blocked by the first one. A play on perspective is meant to make sure the audience can identify with the object, even if it’s in an unorthodox way.

WP3: Second Post

“Story” by William King is an intricate piece of art that can be interpreted many different ways. I feel the title plays a prominent role in addressing the argument because not only does the sculpture have a story to tell, but he also observes the stories of the public. Context shapes the argument greatly with the sculpture being outside and susceptible to the elements. There are two buildings, one parallel and the other perpendicular, that are in close proximity to this sculpture creating an enclosed environment. Facing the street creates an ethos of contemplation with the figure observing the lives of everyday people. Many features such as hue and visual hierarchy contribute to appealing to the common man. The entire entity is the same shade of silver with little variation which creates a unity within the piece. Silver can be seen clearly on both light and dark days and is thought of as sort of a middle ground. One example of this “middle ground” is a silver medal which is between a gold and bronze.

With all sculptures, but especially with this one, perspective is important. Looking from the side the only visible parts are the upper arm with a cigarette and the outstretched leg. These prominent features promote leisure and relaxation. Observing the piece from the back reveals more about its rhetorical strategies. Some factors contributing to pathos of relaxation are the fact that the left arm is resting on the stool, the figure is positioned off center, and the cigarette is visible over the top of the shoulder.

The material used to construct something is important when analyzing its argument. This piece is made out of aluminum which is a common element. Again we see how the argument appeals to the common man and his story. Another useful concept to consider is the era in which it was created. “Story” was created in 1970, a time when smoking wasn’t as frowned upon as it is now. People would smoke in the evenings after a hard day’s work in order to relax. I can imagine this figure sitting on the front porch during the evenings and observing the strangers that walked by. One important feature of this piece is that it is hermaphroditic, not focusing on one specific gender. This is an example of a high level of abstraction in order to appeal to a wide audience.

It is always wise to analyze the author along with his creation. “Story” was a gift by Blake King to the Sheldon Art Museum in honor of Norman A. Geske. It is possible that this creation is based on the story of Norman’s life. Maybe he lived a tough, stressful life and finally got to relax during retirement. He story was winding down yet he observed the stories of others from his front porch. Obviously, Norman must have been a positive influence for Blake King to donate this sculpture to the museum. With so many rhetorical strategies in play here, this piece can portray its argument to a diverse and widespread audience.

WP3: First Post

During my lifespan, I have dabbled in many forms of the arts. However, looking over my past I have realized that my experience with art-objects is limited. Most art projects I develop are paintings or drawings, essentially 2-D in nature. Part of the reason I lack experience with three dimensional pieces of art is because it involves more work and materials. With drawing, a pencil and paper are all that is required. Sculptures can entail metals, nails, clay, or plastic. A lot of effort must go into gathering these materials and constructing them. For major sculptures some welding or heavy machinery experience may be necessary. The biggest difference I see between the two dimensional and three dimensional art forms is the ease of creation. Creating what you want is fairly simple with pencil and paper, especially since mistakes can be erased in seconds. This process is much more difficult with art-objects because the material is so durable. Accordingly, it is harder to shape the material into the desired form and even more difficult to undo unwanted actions.


The small collection of art-objects that I have made consists of pottery, puppets, and collages. With pottery it is easier to fix mistakes because the clay is wet and can be mended with ease. Clay can be added or removed which affects the overall end product. During fourth grade I created a paper Mache puppet in the form of a dragon. Using materials such as felt, glue, google eyes, paint, and markers I decorated my magical creation. I had to consider how the puppet looked from all angles, making sure there wasn’t a dip in quality. This is one component that is present in 3-D objects such as sculptures, a 360 degree viewpoint. Finally, I have constructed multiple collages during my academic career. While collages could be considered two dimensional creations, I have made some that have protruding objects creating multiple dimensions.

In my opinion art-objects can be analyzed deeper or at least in a radically different way than more traditional art. The physicality of this type of art contributes to a more realistic feeling that connects with the viewer. Knowing this, I must delve deeper in my analysis of my sculpture than I did in the photograph. One dramatically altered element is context because I must take into account that this sculpture is outside and the reason it was placed in the exact location that it’s in. Sculptures are not as easy to alter as drawings and paintings, but when constructed with care they can portray a very prominent argument. Even with my miniscule art-object background, I realize that there are a multitude of angles that one could analyze a three dimensional piece of art.

WP2: Final Draft of Comic

Author's Note:

Choosing option 2 eliminated some of the frustrations of writing an essay but also introduced some unique challenges. My goal was to create a comic strip that portrayed a relevant argument via unorthodox comic strip conventions. Although humor is a major element of comics, I wanted to make sure there was a concrete message readers could glean from my creation.

I chose to address a topic I feel very passionate about, Taco Bell. The founder of my favorite restaurant passed away a few months ago so I figured I could implement this into an argument dealing with fast food. In my Statement of Purpose I stated that I wanted my audience to realize the impact that fast food and the celebrities that endorse their products have on American lifestyle. Having a world class athlete like Lance Armstrong advertising tacos full of processed meat and cheese is fairly contradictory isn’t it?

Many alterations to my comic were made throughout the process to perfect my argument. At first I envisioned a seventeen panel comic that contained interviews with three high profile celebrities. After teacher feedback I realized that it would be difficult to produce that many high quality panels in such a short time period. Therefore, I cut out panels depicting Mr. Bell rapping, T.I. and Lil Wayne in jail, and the entire Robert de Niro interview. Additionally, I combined two panels, one portraying the funeral and another close up of the reporter, into what is now the second panel of the comic.

I tried to differ from traditional comic conventions as much as I could. One example is drawing speech bubbles that extended outside the specified boundaries of the panel (panels 2 and 9). With panels 3, 4, and 5 I tried to create a sense of continuity via curved lines connecting the three panels. All these panels deal with Lance and it made sense to connect them in some fashion. Also the panoramic panel of Lance on the bike breaks up the monotony of square panels. Creating a panel consisting solely of a thought bubble was another way to undermine the conventions of comics. The final structural alteration I made was a triangular shaped panel which helps to accentuate the choices 50 Cent must make. A triangular shape makes the reader feel like they are in 50’s shoes and must make a decision.


I strategically placed color within each panel to amplify part of a character or to call attention to an item in the scene. For example, in the longitudinal panel of Lance biking I colored the taco to make sure the audience would recognize it. With the increased detail in the panel I feared the taco would be missed in all the commotion.

In order to put an emphasis on the celebrities and their importance I introduced a high level of detail on these “icons”. Also, I eliminated most of the background in celebrity scenes to put an emphasis on the attire of the celebrity and what that says about their character. Scenes with celebrities and other characters consisted of a background to help create a sense of normalcy to the situation. Increased levels of abstraction on the other characters helps the audience relate with these “normal” people.

Statement of Purpose

Final Draft of Comic:

Sunday, January 17, 2010 was a sad day for America. A great man, Glen Bell Jr., the founder of Taco Bell, died. He launched Taco Bell restaurants in 1962 and eventually expanded his empire to 5800 restaurants.



A large crowd gathered to commemorate this great man. Many celebrities showed up including Lance Armstrong, 50 Cent, and Robert de Niro. Our interview team caught up with some of the bigger names there and got insight into their connection with the deceased man and his legacy.


Our first interviewee is world renowned cyclist, Lance Armstrong. "I remember riding my bicycle to Taco Bell when I was a kid...it was 50 miles away".

Lance's favorite pre-race meal was three gordita supremes with a side of nachos. "I just loved the atmosphere Glen implemented in his restaurants. It helped me focus for my races". In lieu of Glen's death, Lance has agreed to offer his latest Championship bicycle in a raffle. Forms will be available at every Taco Bell in the world. Additionally, a quality road bike will be raffled off at every Taco Bell.

Unbeknownst to the public, Mr. Bell was an avid rap fan. He never made it in the rap game, but became pals with some of hip-hop's finest after becoming a successful businessman. Rap's greatest were invited to this momentous event. However, two of Glen's favorite rappers, T.I. and Lil Wayne, couldn't make it to the funeral due to imprisionment. One rapper that was able to make it to the funeral was 50 Cent. He reminisced about his experiences with Taco Bell.


"I had a troubled youth, but Mr. Bell helped teach me values and morals".

Generosity is one value Fiddy learned from Glen. He is allowing Vitamin Water to be sold at Taco Bell with all profits going to helping troubled youth.

Glen's presence stretched into Hollywood, with him having close friendships with high end actors such as Robert de Niro. When we interviewed him about Mr. Bell he stated, "Oh, I remember Don Bell. He would help you out no matter the cost as long as you maintained the friendship by returning favors". Robert said that Glen provided inspiration for many of the roles he persued, most notably Vito Corleone in The Godfather II.


In order to pay his debt to Don Bell, Robert de Niro is producing a movie based on Glen's life. De Niro will play the great Mr. Bell Jr., it's predicted to be his most astounding role since Don Corleone in The Godfather II. Mr. Bell was a motivaiton to many. He led by example and is a wonderful case of the American Dream come true. He preached kindness through tasty food. Many big names in popular culture wouldn't be where they are now if it wasn't for Mr. Bell. Hopefully after hearing this kids will add Mr. Bell to their list of role models, right after Spongebob.

WP2: Statement of Purpose

There are a variety of mediums to choose from when creating an argument. This decision leads to a specific audience, purpose and context. One more abstract medium that can be used to portray an argument is a comic strip. Normally denoted as children’s entertainment, comics can relay powerful messages that may not be accepted or as successful in more common formats. I am constructing a comic based on the death of Glen Bell Jr., founder of Taco Bell, and the repercussions of this momentous event. Below is a storyboard for my creation. By creating my own comic I need to take into account which audience I’m aiming for, the context in which I’m writing, framing, and cropping when constructing my sense of purpose.


Once again my audience for this project could be considered global since anyone with Internet access could stumble upon my post. My direct audience would be my teacher and student peers. Some more obscure audiences could be comic enthusiasts, people who enjoy fast food (especially Taco Bell), people interested in Glen Bell Jr., and other teachers fascinated with student work. With an audience range as wide as this it is necessary that I make this comic as universal as possible. One method of achieving this is through levels of abstraction. The more abstract something is the greater sense of familiarity it creates and ultimately resonates with a greater amount of people. Since I am including some big name celebrities I don’t want to abstract them so much that they are indistinguishable from one another. Finding the right balance of abstraction is crucial to appealing to a large audience range.

Another important element I need to apply in my essay is context. A majority of my comic centers on popular culture and it implements a few stereotypes. In order for this to be effective in conveying my argument I need to pick celebrities that anyone with Internet access would be familiar with. The beauty of comics is that I can accentuate features of a character that I want and diminish features I don’t want: all while maintaining a recognizable image. For example, I could make 50 Cent’s arms extremely muscular and massive in comparison with the rest of his body. The character is still recognizable but presents an argument via the massive muscle mass. Another example would be to greatly enlarge the mole on Robert de Niro’s face. This is an identifying characteristic that the audience can relate with. It raises the question: How have these defining characteristics contributed the careers of these men?

There are a number of concepts that the public has come to accept in comics. For instance, it is common knowledge that bubble with text in it represents spoken dialogue. I can manipulate items such as typography between characters to contribute to my argument. It is also normal to have square boxes containing each panel of the comic. Altering this regulation could have major impacts on how audiences react to my comic. What is the effect of circular panels, triangular panels, panels without borders, or colored panels?

Conglomerating my multiple audiences, context, and framing decisions I am able to conjure up a sense of purpose for my comic. My purpose is for the audience to realize how much of an impact fast food has on our nation. Every day we are bombarded by fast food commercials which are usually endorsed by a well known celebrity. Advertising for fast food has exploded in recent years by expanding into diverse realms of popular culture. This has a major impact on how Americans live their lives and their perceptions of both fast food restaurants and celebrities.

WP2: Second Post

After researching the author and her background, I have greatly altered my view of this comic. The author, Natalie Dee, lives with her husband of the same age in their Colombus, Ohio home with their two dogs and baby. She seems like a normal American; however her occupation is far from the norm. By selling merchandise based off her comics she gains income. Both she and her husband have created books filled with their comics. By perusing her comics I found that she pokes fun at cultural norms and stereotypes. She addresses such topics as education, perfectionism and popular culture. Although some of her comics are purely comical, political statements are sprinkled within the mix. By using the medium of comics she is able to reach a variety of audiences and convey a message in an unconventional way. Also by using the internet, her audience increases exponentially. By putting comics in books and on T-shirts, she is spreading her name and messages.

With this background knowledge, I am able to delve deeper into the comic’s argument. Natalie uses stereotypes like the fact that the boss/drug dealer is wearing a beanie or toque. According to Bill Casselman, the word toque originated in Canada when sailors used socks to cover their heads and protect themselves from the cold. Nowadays, it refers to a knitted wool cap also known as a beanie. This popular cap is worn by people from all walks of life during the winter time. Natalie included this is in the comic because drug dealers are usually portrayed wearing toques since they work year round including the harsh winters. Without this item in the comic, the viewer would have no idea who the blue glob was. By using both the visual and textual context clues, a viewer can decipher that Mr. Blue is a drug dealer or at least involved with drugs somehow.


The other major character in the comic is the piggy bank. This an international symbol for a location to store spare change. Why is this so? According to the Great Idea Finder, these contraptions were first created during the 1400s. “Dishes and pots were made of an economical clay called pygg” (Did you ever wonder…). People would drop spare change in jars made of pygg to save it for later. Eventually, people forgot that “pygg” meant a type of clay and assumed it referred to the rural animal. When potters were commissioned to make piggy banks they sculpted them in the likeness of the animal. This tradition has been with us ever since.

Knowing this background knowledge, I can see how Natalie addresses popular culture with her interpretation of a piggy bank. It looks like a real life pig, but has a slit in its back to denote an entrance for loose change. Even the curly tail plays to our imaginary vision of these animals. Natalie cleverly uses iconic symbols in modern day culture to personify inanimate objects and further the progression of the scene.

Works Cited

Casselman, Bill. "Tuque: Quebec Expressions Today." Bill Casselman's Canadian Word of the Day. William Gordon Casselman, 2007. Web. 21 Mar 2010. http://www.billcasselman.com/quebec_sayings/qs_six_tuque.htm.

"Did you ever wonder why its called a piggy bank?." The Great Idea Finder. The Great Idea Finder, 10/08/2006. Web. 21 Mar 2010. http://www.ideafinder.com/features/everwonder/won-pigbank.htm.

WP2: First Post

This comic employs some of the key elements described in CDA and the McCloud selection. First of all, that is not really a pig or a piggy bank. Just because the shape looks like a pig, there is a hole in its back, and its hue is pink our minds perceive it as a piggy bank. The author used a piggy bank because it is the stereotypical location to put spare money. This is relevant for me because I will be creating my own comic and will therefore need to pick "characters" that are easy to recognize and ones that the general public can identify with. Just like the McCloud selection said, the simpler the drawing, the more people it can relate to and the greater amplification the message can have.

This is a single panel comic and therefore needs to get its message across quickly and concisely. This message is mostly relayed through text since the images don't display any type of movement. Without the text, the reader would have no idea what is going on in this scene. After the reader analyzes the text, they can infer that the blue figure is a "human" figure or "the boss". The green hat helps to personify this figure even more. Visually and textually the blue figure is represented as a man in power. Knowing this I will make sure that I have both textual and visual clues in my comic strip.

One observation I made about this comic was that both characters are the same size. Usually a piggy bank is much smaller than its owner so to have a piggy bank the same size or bigger is an interesting rhetorical strategy. The size comparison makes it more believable that this piggy bank could stand up for itself and talk back to its master. I will employ this strategy in my comic by varying the sizes of characters based on the amount of power I want them to possess. I've learned from this comic that drawing objects out of proportion has a definite impact on the comic's argument.

Another major strategy present is the use of bright colorful hues. Through CDA and the McCloud selection I've learned that comics use bold outlines to create a sense of familiarity in order to connect with a wide range of audiences. The artist uses bold lines in this image but also contrasts that with lightly colored hues. Obviously we would expect the piggy bank to be pink, but how would the argument differ if the piggy bank was a different color, say green with purple polka dots? The other figure consists of green, blue, and pink hues that create a lighthearted aura around him. This comic is meant to be humorous and therefore has lighter hues to attract audiences. In more serious comics like "The Veil" from Persepolis, darker hues that contrast are used to augment the seriousness of the issue. By observing this comic I now know that hue selection plays a major part in the "mood" of the comic, how the audience perceives the characters, and ultimately what the argument is.

WP1: Final Draft

Author's Note:

I feel this project was an investigative and educational experience that helped amplify my analysis of photography. Before this project I merely just looked at a photograph and decided whether I liked it or not. Now by using terms from the book, I can express what aspects of the photo help to portray certain arguments. It was challenging to come up with an argument for my photo. My first thesis was that “the blue-collar laborers during World War II were dealing with contrasting feelings: the somber sadness of the tragedy of war and the uplifting spirit of the economy due to the increased job availability and productivity”. Although this could be an argument, it was a little too contradictory and symbolic. I needed to analyze the actual photo more.

My second thesis was “war isolates humans from each other, taking away their individuality, and putting an emphasis on using all possible resources to attain victory”.
This was a better thesis, still it wasn’t clear enough. I didn’t address the isolation of humanity in my essay and therefore took it out for the final draft. My final thesis was “war unites people of a nation and puts an emphasis on using all possible resources to attain victory”. I feel this encompasses the photo perfectly and is supported by the technical elements. One change I made in the final draft was adding that the technical elements caused an appeal to logos and pathos.

In the first draft I had my technical elements in the following order: coloration, vectors of attention, and framing. After both a peer and instructor review, I realized that framing was my strongest paragraph and moved it to the front. I also moved coloration to the back because I felt it was least significant. Also, in my first draft I only had four multimedia elements and therefore had to add one more picture for the second draft.

For my final draft, I kept framing first but moved coloration up to second because I felt it was a good transition into the vectors of attention. The greatest vector of attention in this photo is the locomotive because of the contrasting hues. In my first two drafts my video was too big and covered the classmate sidebar. I couldn’t figure out how to get the dimensions right so I just found a different YouTube video of the same government PSA.
I tried to cut down on the unneeded historical context in this last draft and subsequently cut out “One interesting insight that an observer at this sight had was that the soldiers didn’t care where they were or where they were going. They were just happy to be traveling around the country” because it wasn’t relevant to be argument and didn’t greatly contribute to the background knowledge necessary for analyzing this photograph.

One other critical change I made in the final draft was adding the definitions of ethos, pathos, and logos to help the reader understand my technical elements. I made some major changes to my essay between drafts and it significantly helped to create a more complete and thorough rhetorical analysis of my photograph.


Rough Draft 1
Rough Draft 2
Statement of Purpose

Final Draft:


Wars propose a complicated situation for every country involved because the whole dynamic of the economy must change, not to mention the emotional tribulations. The United States experienced these challenges during World War II. Although initially not trying to get involved in the conflict, the US retaliated after the Pearl Harbor attack on December 7, 1941. Sacrifices, both voluntary and involuntary, were made by citizens of the US to help the country prevail in battle. During 1943 the US government issued shoe rationing (three pairs of leather shoes per year), meat rationing (28oz per week), and standstill wages and prices to streamline the economy (A WW2 Timeline). With all the country’s resources all going to the war and people dying, the future looked bleak.


During this period, all aspects of the nation were geared toward helping progress in the war. Factories were commissioned to create clothes, food and weapons for the soldiers. Transportation of these goods was mainly through the railroad system. One station involved in this endeavor, Ogden Union Station, played a major role in transporting military goods along with regular passengers and cargo. Special “troop trains” would ferry around the soldiers from town to town. The video above is a government statement from 1943 concerning troop trains and what they are used for. At one point during the war, a train rolled through Ogden Union Station every five minutes (How Trains Helped Win a War).


The photograph, Santa Fe R.R. freight train about to leave for the West Coast from Corwith yard, Chicago, Ill, is a prime example of how important the railroad business was during this time period. It was taken by Jack Delano, an American documentary photographer, in 1943 as part of the Farm Security Administration-Office of War Information Collection. The goal of this collection of photographs was to capture American life during the heart of World War II. This specific photograph exemplifies the argument that war unites people of a nation and puts an emphasis on using all possible resources to attain victory. This is evidenced through technical elements such as framing, coloration, and vectors of attention via appeals to logos and pathos.

The framing of an image gives it the ability to focus on specific elements within the photo. In the case of this particular photo, such framing is used to accent the importance of the success of the train’s journey. The photo is taken at an angle to show both the longevity of the train and also a short stretch of track that represents the train’s future journey. It gives a sort of “before and after” snapshot of the journey. Although this is a military train that carries mostly cargo, one would expect at least a few passengers to be present. However, none can be found which leads the viewer to wonder if there are any waiting at the train station which is not visible. The fact that no passengers, train station, or other locomotives are present creates logos of isolation. According to Compose, Design, Advocate logos is when “you are building an ordered set of elements that your audience follows visually-and hence conceptually-to arrive at the points you want to make” (285). With only blue-collar laborers present in the photo, logically the viewer assumes that surrounding area is not swarming with anxious passengers. Focusing on the locomotive in turn creates an appeal to pathos because the viewer is curious about the train’s future destination and its previous location. Feelings toward this locomotive will vary between audience members because “your specific cultural background will shape your own specific response” (CDA 274).

The cropping element that has the biggest impact on the argument is the fact that the train towers over the men. Size plays a major role in implementing this argument. Also, the seven men are all about the same size, creating sameness. The massiveness of the locomotive is able to contrast with this sameness and stand out in the photograph. These framing elements put an emphasis on the locomotive and not the men. The main locomotive and the subsequent rails are placed diagonally to the picture’s frame but parallel to each other. This creates a unity via repetition and also helps highlight these elements from the rest of the photograph. The men are all vertically aligned with the sides of the photo, creating a concrete base for the more drastically aligned objects to play off of. The unorthodox alignment of the locomotive evokes pathos of interest in the viewer. This causes inquiries about the contents of the train, where it’s headed, and whether or not it will have a successful journey.

Contrasting hues play a major role in contributing to the argument in this photograph. The eye is first drawn to the black locomotive because it contrasts so drastically with the white surroundings. These two hues are exact opposites, forcing juxtaposition into the photograph. Also, the lightly saturated blue hues in the sky help make the steam from the locomotive stand out and not be immersed in the sky line. The front of the locomotive is highly saturated because it is facing away from the sun. This high saturation continues in the shadow the locomotive casts on the car on the adjacent track. This creates an overall darker feel in the right portion of the photograph, while the left (especially the upper left) is bright and has a more open feel to it. Such contrasting elements help the viewer to focus on the locomotive with no work involved at all. The photograph is designed to highlight the importance of using resources such as transportation to gain advantages in war. Therefore, a jet black locomotive surrounded by light hues creates the perfect contrast to support this argument.

The unique coloration of this photograph creates prominent vectors of attention that help to further the argument. One obvious vector of attention that is noticeable immediately is the locomotive. . Since the locomotive is so gargantuan, it diminishes the significance of the conductor and the other men by drawing attention to itself. With its front end pointing toward its destination, it creates a vector of attention that is aimed at something outside the photo. Since the front of the train is not positioned directly toward the audience, distance is created. The audience is an onlooker of this scene and therefore not significantly emotionally attached to the photo.


From the title we know that this train is about to the leave the station. Logically, we believe these men were loading the train and preparing it for departure. Three of these men’s vectors of attention are directed toward the right bottom corner of the photo (the tracks leading to the next destination). This presents an ethos of expectation or accomplishment since they have finished their job. Ethos is defined by CDA as “‘the face you put on’ for the audience” (192). The man furthest from the camera has a vector of attention aimed at the group of men gathered around the locomotive, especially the man on the far left. Concerning ethos, he seems distant and lagging creating pathos of loneliness and isolation. The man on the far left is staring at the locomotive with his whole body pointed toward it. It seems he has a connection with the locomotive; he knows how crucial it is that the train makes it to its destination and delivers the helpful cargo to the soldiers. Finally, the last and most intriguing man is addressing his attention to the window of the locomotive where the conductor’s torso is visible! From this observation one can infer that these two men have a deeper connection than the others do.

Through these vectors of attention one realizes that all these men have a bond with this train and what it represents. The train is more important than any of these men and represents a conglomeration of efforts from masses of people to aid soldiers in need. A wartime photograph aims to show that everyone was working for the greater good and this photograph exemplifies that through the men's vectors of attention.



Santa Fe R.R. freight train about to leave for the West Coast from Corwith yard, Chicago, Ill uses varying vectors of attention, coloration via contrasting hues, and isolating framing to signify the importance of using resources during war and unifying a nation to lead it to victory. All these technical elements center on the locomotive and not the men. This is a monumental decision since many photographs have humans as the main subject. A machine having more importance than men is congruent with war because the success of the group as a whole is more significant than the success of individuals. The take-home message that viewers should get from this photograph is that it is sometimes necessary to express humility and use all of our resources to surmount obstacles.

Works Cited

"A WW2 Timeline." World War 2 Timelines 1939-1945. 2006. www.worldwar-2.net, Web. 17 Feb 2010.

"How Trains Helped Win a War." Utah History to Go. 2010. utah.gov, Web. 18 Feb 2010.

Wysocki, Anne Frances and Dennis A. Lynch. Compose, Design, Advocate: A rhetoric for integrating written, visual, and oral communication. New York, NY: Pearson-Longman, 2007.

WP1: Rough Draft 2

Wars propose a complicated situation for every country involved because the whole dynamic of the economy must change not to mention the emotional tribulations. The United States experienced these challenges during World War II. Although initially not trying to get involved in the conflict, the US retaliated after the Pearl Harbor attack on December 7, 1941. Sacrifices, both voluntary and involuntary, were made by citizens of the US to help the country prevail in battle. During 1943 the US government issued shoe rationing (three pairs of leather shoes per year), meat rationing (28oz per week), and standstill wages and prices to streamline the economy (A WW2 Timeline). With all the country’s resources all going to the war and people dying, the future looked bleak.

During this period, all aspects of the country were geared toward furthering the country’s progress in the war. Factories were commissioned to create clothes, food and weapons for the soldiers. Transportation of these goods was mainly through the railroad system. One station involved in this endeavor, Ogden Union Station, played a major role in transporting military goods along with regular passengers and cargo. Special “troop trains” would ferry around the soldiers from town to town. The video above is a government statement from 1943 concerning troop trains and what they are used for. One interesting insight that an observer at this sight had was that the soldiers didn’t care where they were or where they were going. They were just happy to be traveling around the country. At one point during the war, a train rolled through the station every five minutes (How Trains Helped Win a War).


The photograph, Santa Fe R.R. freight train about to leave for the West Coast from Corwith yard, Chicago, Ill, is a prime example of how important the railroad business was during this time period. It was taken by Jack Delano, an American documentary photographer, in 1943 as part of the Farm Security Administration-Office of War Information Collection. The goal of this collection of photographs was to capture American life during the heart of World War II. This specific photograph exemplifies the argument that war isolates humans from each other, taking away their individuality, and putting an emphasis on using all possible resources to attain victory. This is evidenced through technical elements such as framing, vectors of attention, and coloration.

The framing elements in this photo really accent the importance of the success of the train’s journey. The photo is taken at an angle to show both the longevity of the train and also a short stretch of track that represents the train’s future journey. It gives a sort of “before and after” snapshot of the journey. Although this is a military train that carries mostly cargo, one would expect at least a few passengers to be present. However, none can be found which leads the viewer to wonder if there are any waiting at the train station which is not visible. The fact that no passengers, train station, or other locomotives are present creates pathos of isolation. The reason for this is to put an emphasis on the importance of this one train and how its fate has repercussions throughout the country.

The cropping element that has the biggest impact on the argument is the fact that the train towers over the men. Size plays a major role in implementing this argument. Also, the seven men are all about the same size, creating sameness. The massiveness of the locomotive is able to contrast with this sameness and stand out in the photograph. These framing elements put an emphasis on the locomotive and not the men. Pathos is evoked with the viewer expressing interest in the contents of the train, where it’s headed, and whether or not it will have a successful journey.

Vectors of attention are very prominent in this photograph and help to further the argument. There are seven men in this photo and each has a unique vector of attention that helps the audience to glean information concerning their intentions. The men are positioned sporadically and facing different directions which creates unfamiliarity between the men.

From the title we know that this train is about to the leave the station. Logically, we believe these men were loading the train and preparing it for departure. Three of these men’s vectors of attention are directed toward the right bottom corner of the photo (the tracks leading to the next destination). This presents an ethos of expectation or accomplishment since they have finished their job. The man furthest from the camera has a vector of attention aimed at the group of men gathered around the locomotive, especially the man on the far left. Concerning ethos, he seems distant and lagging creating pathos of loneliness and isolation. The man on the far left is staring at the locomotive with his whole body pointed toward it. It seems he has a connection with the locomotive; he knows how crucial it is that the train makes it to its destination and delivers the helpful cargo to the soldiers.

Finally, the last and most intriguing man is addressing his attention to the window of the locomotive where the conductor’s torso is visible! From this observation one can infer that these two men have a deeper connection than the others do. This is the only example of friendly contact in the photo, every other man seems isolated and in his own world. Since the locomotive is so gargantuan, it diminishes the significance of the conductor so in a sense the other man is addressing the locomotive as a whole and wishing it good fortune on its journey.

Through these vectors of attention one realizes that all these men have a bond with this train and what it represents. The train is more important than any of these men and represents a conglomeration of efforts from masses of people to aid soldiers in need. A wartime photograph aims to show that everyone was working for the greater good and this photograph exemplifies that through the men’s vectors of attention.


Contrasting hues play a major role in contributing to the argument in this photograph. The eye is first drawn to the black locomotive because it contrasts so drastically with the white surroundings. These two hues are exact opposites, forcing juxtaposition into the photograph. Also, the lightly saturated blue hues in the sky help make the steam from the locomotive stand out and not be immersed in the sky line. The front of the locomotive is highly saturated because it is facing away from the sun. This high saturation continues in the shadow the locomotive casts on the car on the adjacent track. This creates an overall darker feel in the right portion of the photograph, while the left (especially the upper left) is bright and has a more open feel to it. Such contrasting elements help the viewer to focus on the locomotive with no work involved at all. The photograph is designed to highlight the importance of using resources such as transportation to gain advantages in war. Therefore, a jet black locomotive surrounded by light hues creates the perfect contrast to support this argument.


Santa Fe R.R. freight train about to leave for the West Coast from Corwith yard, Chicago, Ill uses coloration via contrasting hues, varying vectors of attention, and isolating framing to signify the importance of using resources during war, which in turn takes away the individuality of the citizens involved. All these technical elements center around the locomotive and not the men. This is a monumental decision since many photographs have human as the main subject. A machine having more importance than men is congruent with war because the success of the group as a whole is more significant than the success of individuals.

Works Cited

"A WW2 Timeline." World War 2 Timelines 1939-1945. 2006. www.worldwar-2.net, Web. 17 Feb 2010.

"How Trains Helped Win a War." Utah History to Go. 2010. utah.gov, Web. 18 Feb 2010.