Picturebook Codes

 In our session, we were looking at a case study of William Moebius and his work on Picturebook codes. Moebius' ideas overlap with other critical analytical theories, such Barthes (semiotics, signs and symbols), Joseph Campbell, Jane Doonan, Molly Bang etc.

Moebius provides a framework in which we can formally analyse the 'principles of design' within an image. These include:

1.THE CODES OF POSITION, SIZE AND DIMINISHING RETURNS

2. CODES OF PERSPECTIVE

3. THE CODES OF THE FRAME AND THE RIGHT AND ROUND

4. THE CODES OF LINE AND CAPILLARITY

5. THE CODE OF COLOUR

 Using this framework, we can begin to understand how and why an image has been constructed. It can lead us to question; what do the colours mean? Do they connote a specific emotion? What about the perspective? How does it make us feel as the reader? What about the framing? Is there a sense of movement or perhaps continuity within the frame? (e.g is there a static object? or does it move?) What do the lines tell us about the image? Is there a lot of energy in them? 

For the task, I was focusing on the codes of line and capillarity in We're Going on a Bear Hunt. Although these two pages offer a lot to dissect with the other principles, I am focusing on the lines for this brief analysis.

In this first example, according to Moebius, the thinner (and sometimes non existent lines) can represent movement and excitement. With context of the story, this scene depicts the family moving through whatever obstacle they are presented with and the characters are shown happy and smiling. I think this is particularly effective considering the bright colours that are also used in the frame.

This example has sketchier/scratchy lines that are sometimes uneven. They hold a lot of energy and Moebuis suggests that these sort of lines can represent some from of statis or anticipation. In the scene, the family are paused on their journey as they consider the obstacle in front of them. The lines feel a little apprehensive and could show a slow build up of excitement. 

When considering the two examples together, the difference in colours and line styles will surely communicate to the reader that these pages have very different moods - they represent different parts of the story. The energy in the grayscale illustrations feels apprehensive and like a moment of contemplation, whereas the other feels more lively. 

It was really useful to bring my attention back to this way of analysing images as it's a framework that I often forget or take for granted. Although I think many image makers make these decisions rather subconsciously, it has reminded me to consider these principles whilst reviewing the development of my own work.

Moebius, W. (1986) “Introduction to picturebook codes,” Word & Image, 2(2), pp. 141–158. Available at: https://doi.org/10.1080/02666286.1986.10435598.