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mitchellguynan's review against another edition
informative
inspiring
reflective
fast-paced
5.0
This book articulated so many really cool aspects of comics and I think more people should read this!!
isayouthere's review
Didn’t have time to finish this quarter 🥲 too many assigned readings too little time
i_have_no_process's review
funny
informative
inspiring
lighthearted
fast-paced
5.0
One of the best reference books ever written. Certainly the most personable!
oao's review against another edition
4.0
JUXTAPOSED PICTORIAL AND OTHER IMAGES IN DELIBERATE SEQUENCE
the vocabulary – icon
- Cartooning is a way of seeing (what to amplify)
- simplicity(cartooning) enables the projection of the self
- realistic to objectify. emphasis otherness
- the “clear-line” style: one set of lines to see. another set of lines to be.
o combination of very iconic characters with unusually realistic backgrounds allows readers to mask themselves in a character and safely enter a sensually stimulating world.
- meaning retained. resemblance gone. words---are the ultimate abstraction.
icons demand our participation to make them work. there is no life here except that which you give to it.
the style
- the triangle of nature, art, ideas
the border (“blood in the gutter”)
- comics panels fracture both time and space, offering a jagged, staccato rhythm of unconnected moments.
- closure allows us to connect these moments and mentally construct a continuous, unified reality.
to kill a man between panels is to condemn him to a thousand deaths.
the craft
- panel transition:
1. moment to moment,
2. action to action,
3. subject to subject,
4. scene to scene,
5. aspect to aspect, Japanese, comics as an art of intervals.
6. non-sequitur
A silent dance of the seen and the unseen, the visible and the invisible. All i ask of you is a little faith---- and a world of imagination.
the panel - amalgamation of time and space
how the following affect the perception/feeling of time
- size of the space in between each panel
- the size/shape of the panel
- borderless and bleeds (a sense of “timeless”)
sound (word balloons + sound effects) add to the duration of a panel, partially through the nature of sound itself and by introducing issues of action and reaction.
motion line:
- dynamic (multiple images)
- diagrammatic
- streaking
- blurring (like a slow camera’s shutter)
"subjective motion," operates on the assumption that if observing a moving object can be involving, being that object should be more so.
How lines convey emotions (but eventually comes down to the readers’ interpretation)
the (unlimited) combination of words + pictures
- word specific, where pictures illustrate, but don't significantly add to a largely complete text.
- picture specific where words do little more than add a soundtrack to a visually told sequence.
- duo-specific panels in which both words and pictures send essentially the same message.
- the additive, where words amplify or elaborate on an image or vice versa.
- parallel, words and pictures seem to follow very different courses--without intersecting.
- the montage where words are treated as integral parts of the picture.
- the interdependent, where words and pictures go hand in hand to convey an idea that neither could convey alone. (the most common)
flat colours
- to cut costs (as a trend)
- iconic power to symbolize (ex. A certain color scheme represents a certain hero)
- tendency to emphasize the shape of objects
- form takes on more significance. the world becomes a playground of shapes and space.
- more “real” at first glance
black and white
⁃ the ideas behind the art are communicated more directly. meaning transcends form. art approaches language.
also unexpectedly answered (tho not explicitly) why historically the art of painting in culture with a logographic writing system was treated the same as poetry, and realism was almost never considered a priority.
the vocabulary – icon
- Cartooning is a way of seeing (what to amplify)
- simplicity(cartooning) enables the projection of the self
- realistic to objectify. emphasis otherness
- the “clear-line” style: one set of lines to see. another set of lines to be.
o combination of very iconic characters with unusually realistic backgrounds allows readers to mask themselves in a character and safely enter a sensually stimulating world.
- meaning retained. resemblance gone. words---are the ultimate abstraction.
icons demand our participation to make them work. there is no life here except that which you give to it.
the style
- the triangle of nature, art, ideas
the border (“blood in the gutter”)
- comics panels fracture both time and space, offering a jagged, staccato rhythm of unconnected moments.
- closure allows us to connect these moments and mentally construct a continuous, unified reality.
to kill a man between panels is to condemn him to a thousand deaths.
the craft
- panel transition:
1. moment to moment,
2. action to action,
3. subject to subject,
4. scene to scene,
5. aspect to aspect, Japanese, comics as an art of intervals.
6. non-sequitur
A silent dance of the seen and the unseen, the visible and the invisible. All i ask of you is a little faith---- and a world of imagination.
the panel - amalgamation of time and space
how the following affect the perception/feeling of time
- size of the space in between each panel
- the size/shape of the panel
- borderless and bleeds (a sense of “timeless”)
sound (word balloons + sound effects) add to the duration of a panel, partially through the nature of sound itself and by introducing issues of action and reaction.
motion line:
- dynamic (multiple images)
- diagrammatic
- streaking
- blurring (like a slow camera’s shutter)
"subjective motion," operates on the assumption that if observing a moving object can be involving, being that object should be more so.
How lines convey emotions (but eventually comes down to the readers’ interpretation)
the (unlimited) combination of words + pictures
- word specific, where pictures illustrate, but don't significantly add to a largely complete text.
- picture specific where words do little more than add a soundtrack to a visually told sequence.
- duo-specific panels in which both words and pictures send essentially the same message.
- the additive, where words amplify or elaborate on an image or vice versa.
- parallel, words and pictures seem to follow very different courses--without intersecting.
- the montage where words are treated as integral parts of the picture.
- the interdependent, where words and pictures go hand in hand to convey an idea that neither could convey alone. (the most common)
flat colours
- to cut costs (as a trend)
- iconic power to symbolize (ex. A certain color scheme represents a certain hero)
- tendency to emphasize the shape of objects
- form takes on more significance. the world becomes a playground of shapes and space.
- more “real” at first glance
black and white
⁃ the ideas behind the art are communicated more directly. meaning transcends form. art approaches language.
also unexpectedly answered (tho not explicitly) why historically the art of painting in culture with a logographic writing system was treated the same as poetry, and realism was almost never considered a priority.