More contemporary is Gene Greif’s Illustration to “The Chef: Tadashi Ono,” from the New York Times, January 12, 2000. We’ve seen that wave before! (from the chapter on printmaking). The New York audience who would read the article would be educated and recognize the wave as by the Japanese printmaker, Hokusai, and visually place the content of the article in Japan. How is Greif’’s narrative composed? It obviously refers to seafood - the wave, salt coming from the shaker (salt water), and the giant prawn (or shrimp). The inclusion of the skillet suggests stir fry, and the chili pepper spicy flavorings. Balance: the droplets on the wave in the bottom left balance the salt in the top right. The chili pepper balances the curved prawn. The silvery skillet is balanced at top left by the silver salt shaker. Shapes and lines direct repeat: the curved pepper with the prawn, the wave with the spray of salt. The hot orange rectangle holding the pepper is repeated in the tomato-red horizontal rectangle under the skillet. The high value white in the wave is repeated in the salt. Obviously, for everything on the left, bottom or top, there is something on the right, top or bottom.



 Everything is mirrored elsewhere. Though spatially the composition is loosely arranged, every object is of a deliberate size, color, and placement. Even without words, the pepper, wave, salt, prawn and skillet visually construct the narrative and the artist’s intention to make the viewer hungry or interested in having Japanese food has been accomplished.