Which of these images is a bouba and which is a kiki?

Transcription

1 Which of these images is a bouba and which is a kiki?

2 Bouba/ Kiki Effect The test 95% to 98% selected the curvy shape as "bouba" and the jagged one as "kiki", suggesting that the human brain somehow attaches abstract meanings to the shapes and sounds in a consistent way. Kiki Bouba

3 Introduction to Graphic Fiction As inspired by Understanding Comics: The Invisible Art By Scott McCloud

4 Defining Graphic Fiction Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer (17). Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 17.

5 Defining Graphic Fiction Non-pictorial icons vs. Pictorial icons Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 28/1-2.

6 Defining Graphic Fiction As we continue to abstract and simplify our image, we are moving further from the real face of the photo (29). Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 31/4.

7 CONSIDERATION: Why is this continuum accepted by our eyes? Why do human beings, young and old, respond as much to an abstract image as to a realistic one? What is our preoccupation with simplified realities?

8 Defining Graphic Fiction: McCloud s Answer Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 36/1-2.

9 Defining Graphic Fiction: McCloud s Answer Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 36/3-4.

10 Defining Graphic Fiction: McCloud s Answer The cartoon is a vacuum into which our identity and awareness are pulled, an empty shell that we inhabit which enables us to travel to another realm. We don t just observe the cartoon, we become it! (36)

11 Graphic Fiction Terminology Panel: the perimeters into which text and pictorial icons establish action Gutter: the space between the panels Bleed: text and pictorial icons establishing action outside of any perimeters

12 Graphic Fiction Terminology: Panel Source: Kazu Kibuishi, Daisy Kutter: The Last Train (Viper Comics, 2005): 126/1-7.

13 Graphic Fiction Terminology: Gutter Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 67/2.

14 Graphic Fiction Terminology: Bleed Source: Grant Morrison, The Filth. (Virtego, 2004):

15 Terminology to Create Time Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 100/1..

16 CHALLENGE: Examine the effect(s) of the author s use of panels, gutter, and bleeds in the following examples:

17 Terminology to Create Time: Example One Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 66/1-2.

18 Terminology to Create Time: McCloud s Answer The author does not kill the victim; the reader does. The reader becomes a silent accomplice an equal partner in crime (68) Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 66/1-3.

19 Terminology to Create Time: Example Two (bleeds off page) Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 103/3.

20 Terminology to Create Time: McCloud s Answer (bleeds off page) Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 103/1-3.

21 Terminology to Create Time: Example Three Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 100/9.

22 Terminology to Create Time: McCloud s Answer Vs. Source: Scott McCloud, Understanding Comics (DC Comics, 1999): /9,1.

23 Moment-to-Moment Action-to-Action Subject-to-Subject Scene-to-Scene Aspect-to-Aspect Non-Sequitur Expansion of time DEALING WITH TIME MOVING FROM PANEL TO PANEL

24 Moment to Moment The same subject is shown in two juxtaposed panels illustrating the passage of time

25 Action to Action The same subject is shown But the subject s physical from is changed An action (verb) has been performed

26 Subject to Subject The reader s gaze moves from one subject to another within the same scene/idea Shows a minimal passage of time

27 Scene to Scene Requires the reader to deduce Transports the reader across significant distances of time and space. Often supplemented with a transitional device in the narrative voice (Meanwhile )

28 Aspect to Aspect Time may pause (Compression) Extension Same scene, as though the character or reader is looking around. *think: descriptive prose

29 Non- Sequitur Means does not follow Offers no logical relationship between the panels. Rare.

30 Expansion of Time Similar to aspect-toaspect with how it manipulates time But focuses on one subject

31 What can a panel illustrate?

32

33 Things to Consider Choice of Frame (distance and angle) Choice of Image Choice of Word Choice of Flow

34 Choice of Frame

35 Choice of Frame

36 Choice of Frame

37

38 Choice of Image

39 Choice of Image

40 Choice of Image

41 Choice of Word

42 Choice of Flow

43 Choice of Flow

44 Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 118/2.

45 Use of Line to Present Emotion The idea that a picture can evoke an emotional or sensual response in the viewer is vital to the art of comics (121). In truth, don t all lines carry with them an expressive potential? (124)

46 Use of Line to Present Emotion All lines, therefore, are used by the author to express particular emotions and/or sensations vs. vs. WORD vs. WORD

47 Lines as words?

48 Use of Line to Present Emotion Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 125/1-8.

49 CHALLENGE: Draw Grimness Whimsy Betrayal Insanity

50 Use of Line to Present Emotion: McCloud s Answer Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 126/1-4.

51 Art + Literature Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 140/1. As children, our first books had pictures because that was easier (140).

52 Art + Literature When art and literature are worked together properly, the additive combination of the two can present meaning beyond what each form could accomplish on its own. Four main additive combinations are: * Amplify * Montage * Parallel * Interdependent

53 Art + Literature: Amplify Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 154/1.

54 Art + Literature: Parallel Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 154/2.

55 Art + Literature: Montage Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 154/3.

56 Art + Literature: Interdependent Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 155/1-7.

57 CHALLENGE: In the next few minutes, write a short selection of text to amplify, parallel, and/or be interdependent to the following panels.

58 CHALLENGE: Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 157/4-8.

59 Art + Literature: McCloud s Answer Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 160/1-5.

60 Art + Literature: McCloud s Answer Source: Scott McCloud, Understanding Comics (DC Comics, 1999): 160/7-10.