Representing Macbeth: A Case Study in Visual Rhetoric

Abstract

creative process of finding appropriate design solutions to visual problems would become more accessible and more probable, and could be enriched if designers were more conscious of the underlying system of concept formation. Instead, they seem to use it intuitively. In adapting contemporary semiotic and rhetoric theory, the following study of Macbeth posters endeavours to present an operational model of concept formation that is often identified with the creative process. Semiotics, the doctrine of signs, explains the principles that underlie the structure of signs and their utilization within messages, and rhetoric, the art of persuasion, suggests ways to construct appropriate messages. Speaking out on concept formation and the problems involved in designing a poster for a theater play, J. Shadbolt, the designer, remarked: The psychological problem was what slowed down the process. I would read the actual play, consider carefully its overall impact, and then try to convey with the totality of my design something of that precise import. It's easy to make an elegant decoration, but quite another thing to evoke exact implication.1 Shadbolt's remark addresses some fundamental problems in the design activity, and directs special attention to the following questions: How is meaning created visually in design? What is the routing that leads from the text of a play (or any other statement) to a concept and its visualization in a poster (or a book cover or trademark)? What is the nature of the relationship between the figurative image and the text? These questions are all related to the process of signification, that is, the coding dimension that precedes all message transfer and communicative interaction. To find answers to these questions and to illuminate the process of arriving at a design solution, this article will examine the relevance of rhetoric to design and explore some of its basic principles. semiotic structure of coding and the rhetorical characteristic that governs the visual appearance of a poster will also be discussed. In addition, the operational potential of rhetorical procedure for design in conjunction with the outcome of a recent case study is demonstrated.

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