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Comics vocabulary - Wikipedia, the free encyclopedia The vocabulary of comics consists of the many different techniques and images which comics artists will employ in order to convey a narrative within the medium of comics. Other techniques of representation used within comics are: the speech bubble; the thought balloon; the narrative box; and the style of lettering. Full bleed is usually used on a comic book cover, and is when the art is allowed to run to the edge of each page, rather than having a white border around it. en.wikipedia.org /wiki/Comics_vocabulary   (717 words)

Comics - Wikipedia, the free encyclopedia Comics (or, less common, sequential art) is a form of visual art consisting of images which are commonly combined with text, often in the form of speech balloons or image captions. The most common forms of printed comics are comic strips (most commonly four panels long) in newspapers and magazines, and longer comic stories in comic books, graphic novels and comic albums. In the United States the term "comics" is sometimes used to describe the page of a newspaper upon which comic strips are found, and through this usage has also grown to be used as a definition for comic strips. en.wikipedia.org /wiki/Comics   (4099 words)

Encyclopedia: Comic book The earliest comic books were simply collections of comic strips that had originally been printed in newspapers. Long-form comic books, generally with hardcover or trade-paper binding came to be known as graphic novels, but as noted above, the term's definition is especially fluid. The term alternative comics is one of several labels applied to a range of comic books, graphic novels, and allied forms that have appeared since about 1980, in the wake of the underground comix movement of the late 1960s and early 70s. www.nationmaster.com /encyclopedia/Comic-book   (2939 words)

Gourmet Pop   (Site not responding. Last check: 2007-10-17) The comics avantgarde has tried for years to convince the reading public that comic books are a legitimate form of literature. What's worse is that, if comic books are simply products for kids, comics creators are regarded as no more than skilled craftsmen with little stock in or claim to their work. It is at once a celebration of the richness of the comics artform, a skewering of the corporate dog-and-pony show that claims comics as its property, and a lament for the great art that might have been made in a more receptive climate. www.metrotimes.com /arts/bookreviews/19/10Gourmet.html   (1033 words)

PopImage   (Site not responding. Last check: 2007-10-17) For a medium as complex as comics, there are very few books on the technical elements of the artform. This is perhaps the capstone of the 80s deconstructionist movement in comics; a comic that doesn't stop at deconstructing the archetypes and great classic works of the medium, but takes the logical final step and pulls them apart at the root level, that of the ink on the page. It will teach the vocabulary of comics, bestow a knowledge of the tricks and devices of the medium, and make it clear that there's more to storytelling in comics than the tools of the American Superhero idiom. www.popimage.com /profile/082200ucreview.html   (625 words)

Transwiki:Understanding Comics - Wikibooks McCloud points out, later, that one of the advantages of comics as a medium is the ease with which text and subtext can spar, as in Art Spiegelman's Maus, where the jews are drawn as mice and the nazis as cats. Jack Kirby's pioneering style, as invoked in a Fantastic Four comic from 1966, breaks down as follows: 65% action-to-action (type 3), 20% subject-to-subject (type 4), 15% scene-to-scene (type 5); the remaining transitions are unused. In comics this means a renewed emphaisis on the power of closure, on the strange alchemy that occurs in the gutter. en.wikibooks.org /wiki/Transwiki:Understanding_Comics   (1932 words)

Bulletin - Comic relief   (Site not responding. Last check: 2007-10-17) Comics publishers are doing everything right – expanding creative rights for artists, tapping new global markets, reworking old genres to keep franchises alive and vital. In their heyday, comics were distributed like magazines to newsstands and book stores; this still happens, however most comics are now purchased via specialist retailers. A generation ago, the only way comics artists could support themselves would be to cut a draconian deal with DC or Marvel – committing to one of the superhero franchises and selling away all rights to their material. bulletin.ninemsn.com.au /bulletin/EdDesk.nsf/printing/394A2C9135B460D9CA256B10000B2376   (966 words)

LAC is CARTOONISTS!   (Site not responding. Last check: 2007-10-17) We believe that cartooning is an art form specific to its medium, and that the vocabulary of comics and cartooning can transform live theatre in a profound way. Artists in the fields of comic art and cartooning have borrowed extensively from film and live theatre during the last century, transforming their works and creating new genres such as comix and manga. We believe that the visual vocabulary of comics must revolutionize, not be subsumed by, theatre when incorporated into performance. www.liveactioncartoonists.org /missionCARTOONISTS.htm   (230 words)

comics Comics, as we're now told repeatedly in mass media outlets, are... Because comics are in vogue again, they've attained a credibility as an... Comics publishers head west as superheroes are made movie stars... hallkidsart.com /top/sites/10/1/comics.html   (435 words)

SAVANT:: Mama Don't Like No Tattletales SAVANT is a weekly comics magazine with an activist bent, aimed at readers, retailers, and professionals of all stripes interested in the comics industry. Of course, those of us that are actually hip to the dynamics of a comics page know that there is much more to manga than these surface elements that have been so assimilated by not only the comics industry, but the greater entertainment industry at large. This is a trend that is becoming increasingly prevalent in Western comics, a testament to the strength of manga's influence. www.savantmag.com /87/essay.html   (959 words)

Tower of English Business   (Site not responding. Last check: 2007-10-17) Comics are a great way to learn new vocabulary and slang. Write all the vocabulary and slang that you learn from C and H. If you can't understand a word, try to figure it out from the context of the comic strip before you use your dictionary. Reading the comics page in the newspaper is a daily ritual for millions of people in America. towerofenglish.com /comics.html   (659 words)

s h o t g u n r e v i e w s   (Site not responding. Last check: 2007-10-17) Nearly every major comic company is participating in this venture (the day after "Spider-Man" opens) in an effort to attract more people to the field. Comics DO broaden your knowledge of science and history through plot points. I will never be convinced that comics are anything but beneficial for kids simply because I read them as a kid. www.shotgunreviews.com /sgr/sgr041602.html   (1406 words)

David Seruyange's Radio Weblog Understanding Comics is about "comics" as an art form, with all the nuances stitched together in simple, concise explanation. He continues from the definition to a basic explanation of the vocabulary of comics and how it straddles the ideas of realism, symbolism, and iconography. In comics the reader sees a series of frames and in their mind they put it all together; a medium where the audience is a willing and conscious collaborator and closure is the agent of change, time, and motion. radio.weblogs.com /0110187/2005/02/08.html   (533 words)

PopPolitics.com - Reinventing Comics The result was a definition of comics as "juxtaposed pictorial and other images in deliberate sequence," backed up by a lucid and convincing argument for abandoning the misconception that comics are a recent and inherently childish invention. Anyone's who's been in a comics shop knows that most of them are still plagued by a dreadful porn shop pall perpetuated by illustrations of large-breasted, spandex-clad superwomen straight from the power fantasies of young (and often, sadly, not-so-young) comic readers. His brief but intriguing history of women's comics cements his case, and his call for "diversity of genre" may be one of the most refreshingly candid statements from a comics creator in years. www.poppolitics.com /articles/2000-09-12-mccloud.shtml   (1361 words)

Multiple Perspectives - Fostering Literacy in Comics For this type of an activity, it would be best for the teacher to create his or her own comics that pertain to the vocabulary aims. Because comics and graphic novels are not entirely word driven ‹they rely on images as well ‹it is much easier for beginners to engage in a detailed discussion of literature. A comic "storyteller" must be careful not to include too many disjointed scenes on one page; such a mixture would make for a confusing and jumbled story. www.wcer.wisc.edu /step/ep301/Spr2000/multimedia/litcomics.htm   (1101 words)

Badda Blog!: Comix Vault Archives In this bold chapter, McCloud, heavily influenced by Marshall McLuhan, postulates that the iconic nature of comic art expands the universality of the image, a trait which makes it easier for a reader to project him or herself into the narrative. Part of what makes Understanding Comics so compelling and effective is that the book is itself a comic, a meta-comic, which makes the theory much more palatable than standard critical theory texts. David's fetish for his father's comic, and subsequent obsession to learn about the man from the remaining scraps of his work, leads to one to speculate about the triadic, feedback-loop-like relationship between creator, creation and reader. www.baddaboom.org /archives/comix_vault   (1693 words)

Compare Prices and Read Reviews on Watchmen at Epinions.com   (Site not responding. Last check: 2007-10-17) Comics have been in the avante-garde of PoMo and Post-Post from the beginning. For a purely PoMo take on comics, two West Coasties from Gold Key are under-appreciated exemplars of the style—Jesse Marsh and Russ Manning, in the ‘50s and ‘60s respectively, produced some outstanding and unusual conglomerations of Classic and Modern motifs. When this comic was reprinted in the early ‘90s, the fl lines were used and the coloring was clearly inferior to the original. www.epinions.com /book-review-642C-88DE12B-38DE879B-prod3   (1788 words)

Barbelith Underground > Comic Books > New York Times Magazine Article About Comics Comic books are what novels used to be -- an accessible, vernacular form with mass appeal -- and if the highbrows are right, they're a form perfectly suited to our dumbed-down culture and collective attention deficit. Comics in relation to the Modern Novel and the subversive elements finally bringing down conventions in both...or something like that. That kind of haphazard writing does comics as a whole no favor - it's important to remember that comics have to be as good as it gets to appeal to an audience unwilling to cut it slack. www.barbelith.com /topic/18187   (3931 words)

Savannah College of Art and Design: The Chronicle Chaykin said he wanted to create comics from the time he was 4 years old. He started as a comics artist in the early 1970s and then worked as a paperback book illustrator. “Comics have lost to a great extent the visual language they were given in the late 1940s and early 1950s,” he said. www.scad.edu /thechronicle/archive/vol_4/11_05   (807 words)

**Rutgers-SCILS549s2001Dalbello*notesw11 He also claims that comics may be read only by "comics literate readers" and that this expertise not only depends on interpreting visual cues, but also the knowledge of the industry's history, of the superhero genre's conventions, and the "continuity" of the story (which builds on earlier plots and experiences of the character). As a narrative medium, why is it important that comics present a unified reality through continuous juxtaposition of adjacent images which the act of imagination changes to a unified idea (p. Other critics have suggested that comics are subversive "in their effects on traditional, hierarchical modes of reading and on the entire notion of literacy". www.scils.rutgers.edu /~dalbello/courses/549/549s2001notesw12.html   (917 words)

Drawn & Quarterly Showcase: Book One Published by independent comics stalwart, Drawn and Quarterly Publications, this first issue was originally intended to feature three tales. Huizenga has, over the years that he has been laboring in the comics field -- primarily on that barely arable north forty which is tenanted by the itinerant laborers of the self-publishing, mini-comics community -- developed an extremely dense visual style, filled with a wide variety of idiosyncratic techniques that he employs with great dexterity. More than perhaps any other comics artist of his generation, Huizenga is constantly at work figuring out new elements to expand the visual vocabulary of comics, and in the three tales here he shows no sign of letting up in this developmental drive. home.earthlink.net /~copaceticcomicsco/DQShowcase.html   (735 words)

The Comics Journal: Interviews The quality of melodrama that they both share isn't necessarily a strong quality for either of them, but the areas in which Eisner was moving away from the general and toward the specific, is where there is something of value for me. And it's the opposite of creating generic mythologies. It falls flat, but the fact that it's struggling to develop a vocabulary is part of what remains interesting for me in the work itself. You see him moving from cross-hatching with a pen to using a crayon, to finally developing his famous duotone technique, all of which are attempts at finding a graphic analog for the world he's trying to portray. tcj.com /2_archives/i_spiegelman.html   (6337 words)

PopImage Will Eisner’s COMICS AND THE SEQUENTIAL ART FORM, or hell, the irregular series here at PI, “Behind the Curtain”, which is basically a nice digestible version of the contents of those works, in monthly installments. Oh, people do recognise the talent when they see it — the reaction to a well paced and laid out comic is almost always better (among those comics readers who aren’t spotty, 13 years old and obsessed with Psylocke’s tits) than the reaction to your average work. I’m willing to bet that with a more useful commentary on comics, we’d get more Moores and Morrisons out of the coming up through the ranks, mostly because it would make it so much easier to learn the craft of comics. www.popimage.com /upfront/081500moderndays.html   (931 words)

CBLDF: Making Waves: Creator Crew Jaime Hernandez is the co-creator of the seminal Love and Rockets comic book series, which singlehandedly spawned the alternative comics movement in 1981 with Jaime's realistic depiction of the Los Angeles punk scene. A life-long fan of comic strips, comic books, and cartoons, Jeff Smith got his start in the industry in 1982 drawing strips for the Ohio State student newspaper. The Comic Book Legal Defense Fund was founded in 1986 as a 501 (c) 3 non-profit organization dedicated to the preservation of First Amendment rights for members of the comics community. www.cbldf.org /pr/cruise/speakers.shtml   (1819 words)

Reading Room Index to the Comic Art Collection   (Site not responding. Last check: 2007-10-17) The Blank in the Comics strip collection includes a file of one or more daily comic strips related to this keyword or topic. A Career for You in the Comics / compiled by the Newspaper Comics Council. Comic Strip Artists on Radio [sound recording] -- George McManus, Russ Westover, Milt Gross, Chic Young and Lyman Young in a skit about new ideas for comic strips. www.lib.msu.edu /comics/rri/vrri/vj.htm   (4816 words)

Comics Gaining Mainstream Acceptance   (Site not responding. Last check: 2007-10-17) With the recent string of successful comics-turned-movie projects, the mainstream press is starting to take notice of the comics industry, and specifically the growing graphic novel sector. But the industry stereotype is undergoing a transformation of sorts thanks to a longer, more literary comic offshoot called the graphic novel. Bolstered by comic writers and artists bent on telling more complex tales and by a string of Hollywood movies adapted from graphic novels — including the new "Road to Perdition" — publishers, booksellers and readers are beginning to take note. www.silverbulletcomicbooks.com /news/102739423434164,print.htm   (309 words)

Graphic novels getting big screen boost    By Todd Dvorak  Associated Press     ... Bolstered by comic writers and artists bent on telling more complex tales and by a string of Hollywood movies adapted from graphic novels -- including the new ''Road to Perdition'' -- publishers, booksellers and readers are beginning to take note. Publishers and comic connoisseurs use the term ''illustrative literature'' to describe the books, which they say emerged from reader demand for more sophisticated comic-driven storytelling. Sales are up over previous years, although it's unclear whether readers are new or comic veterans, or whether the increase is being driven by a handful of hot titles. www.memorial.ecasd.k12.wi.us /MediaServices/Library/GraphicNovelComment1.htm   (784 words)

Vocabulary University® - Stock Market Game Comic Strip Vocabulary University® celebrates the annual Stock Market Game sponsored by the Security Industry Foundation for Economic Education (SIFEE) with 17 Vocons® vocabulary comic strips. Note: the comics are not "live" at this time but will be soon. Any use of the content or characters at Vocabulary University® and other features on www.vocabulary.com is prohibited without the express written consent of Vocabulary University. www.vocabulary.com /SMGame.html   (913 words)

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