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Visual Analysis Introduction

Visual Analysis Introduction. Never mistake the message—for the messenger . Source: Understanding comics The Invisible Art Scott McCloud. The A rtform —the Medium– known as comics is a Vessel which can hold any Number of Ideas and Images.

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Visual Analysis Introduction

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  1. Visual AnalysisIntroduction Never mistake the message—for the messenger. Source: Understanding comics The Invisible Art Scott McCloud

  2. The Artform—the Medium– known as comics is a Vessel which can hold any Number of Ideas and Images Writers, Artists, Trends, Genres, Styles, Subject matter, Themes

  3. Definition • Juxtaposed Pictorial and other Images in Deliberate Sequence

  4. Tomb of Minna1300 BC

  5. Bayeaux Tapestry 1066 230 ft long

  6. Pre-Columbian Picture Manuscript 159336 feet

  7. Trajan’s column

  8. Greek Art

  9. Japanese Scrolls

  10. William Hogarth

  11. William Hogarth

  12. RudolpheToppfer

  13. Stained Windows

  14. Monet

  15. Pictures in Sequence

  16. Picture Booth

  17. Definition • No superheroes, funny animals, fantasy/science fiction, or reader age. • Nothing said about technical aspects or materials • No schools of art, philosophies, movements, or ways of seeing • Juxtaposed Pictorial and other Images in Deliberate Sequence

  18. ?

  19. These are not people

  20. This is not a law.

  21. This is not food.

  22. This is not a face.

  23. This is not a splat.

  24. Icons

  25. In the Non-Pictorial icons meaning is fixed and absolute, their appearance doesn’t affect their meaning because they represent invisible ideas.

  26. Closure • This phenomenon of observing the parts but perceiving the whole has a name: closure.

  27. Closure • Sometimes a mere shape or outline is enough to trigger closure.

  28. Closure • The mental process described whereby these lines become a face could be considered closure.

  29. Closure Comics has an audience is willing and conscious collaborator and closure is the agent of change, time, and motion.

  30. Closure • Comics panels fracture both time and space, offering a jagged, staccato rhythm of unconnected moments. • But closure allows us to connect these moments and mentally construct a continuous, unified reality. • Visual iconography is the vocabulary of comics, closure is its grammar.

  31. Closure • The space between the panels is what comics aficionados have named “The Gutters.” • In the limbo of the gutter, Human Imagination takes two separate images and transforms them into a single idea. • Nothing is seen between the two panels but the experience tells you something must be there.

  32. Peek-a-boo

  33. Comics Panels Fracture both Time and space, offering a jagged, staccato rhythm of unconnected moments. But closure allows us to connect these moments and mentally construct a continuous, unified reality.

  34. Comics Panels Fracture both Time and space, offering a jagged, staccato rhythm of unconnected moments. But closure allows us to connect these moments and mentally construct a continuous, unified reality.

  35. Closure • Every act committed to paper by the comics artist is aided and abetted by a silent accomplice. • An equal partner in crime known as the reader.

  36. All of you participated in the murder. All of you held the axe and chose your spot. Participation is a powerful force in any medium. Filmmakers long ago realized the importance of allowing viewers to use their imaginations.

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