Scan barcode
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.
gordin's review against another edition
5.0
Amazingly good. Such a pity I hadn't read it much, much earlier. Highly recommended to literally everyone, not just people interested in "getting into comics", just anyone who has eyes and can read. It will be time well spent.
amlibera's review against another edition
4.0
Fascinating graphic discussion of comics as a medium - useful for thinking of a variety of art forms and their implications.