![]() The simplification of shapes, for purposes of communication, humor, etc., in comic-strip and comic-book visual language. GRAPHIC STYLE, RENDERING, AND VISUAL SYMBOLISMĬartooning. Panel, border, gutter, caption, speech balloon, thought balloon, balloon tail, tier of panels, sound effects II. Writer, penciller, inker, colorist, letterer, editor What are the most important visual-narrative devices used by the artist?” And the students might be expected to identify and discuss the usage of held-framing sequences, word/image irony, sequential dynamism, or what have you. (So an exam question might ask: “Analyze formally the storytelling in this comic strip. Not in the list but probably worth noting is a more general term I find myself using, especially, in exam questions: “visual-narrative device.” I tend to employ it to encompass most of the concepts below, referring to the artistic choices made by comics creators in transforming a bare-bones plot into a finished comic-strip or comic-book. As these are not specific to comics, I have not included them in the list. I teach in an art history department, and have also used in discussing the art of comics many art-historical terms such as “chiaroscuro,” “baroque,” “idealization,” etc. ![]() For this publication, I have also incorporated into some of the definitions more detailed discussions based on my lecture notes. To the best of my knowledge, the formulations of all definitions, as written, are my own. In a couple of further instances, the sources of terms are credited in the body of the entry. The list was put together mostly from notions in common use in the comics industry, terms in Scott McCloud’s Understanding Comics (which I used as a textbook), terms adapted from film and literary studies, and new terms I have introduced myself for notions that seemed particularly important in my teaching. There is a simple explanation for the bold lettering on some of the terms: it indicated to my students the notions for which they were responsible on their exams. An earlier, shorter version of it was published in 2006 on the website of the National Association of Comic Art Educators ( no longer extant) as part of the syllabus for my course at IU, Art History H 150, “The History of Comic-Book Art.” The list is not intended to be exhaustive: I compiled it primarily to be used in connection to my courses, and its emphases (and possible exclusions) reflect my own pedagogical interests. I put together the following list of terms, for the use of my students at Indiana University, Bloomington and at the University of Louisville, over the more than a decade that I have been teaching courses on comics. Transitions: New Directions in Comics Studies.Nordic Network for Comics Research (NNCORE) Conferences.Graphic Details Symposium: Talking About Jewish Women and Comics (2012).Gesellschaft für Comicforschung (ComFor) Conferences.Frames: Jewish Culture and the Comic Book.First International Conference on Comics and Graphic Novels: Sites of Visual and Textual Innovation (2011).CRAS (Colloque de recherche en arts séquentiels).Comics & Medicine: The Sequential Art of Illness (2011).The International Bande Dessinée Society.The Bi-Monthly/Trimonthly/Intermittent ComFor Update.Rummaging Around in Alan Moore’s Shorts.Comics Forum Online: Annual Review and Conference Call for Papers.Death and the Superhero: Strikeforce: Morituri.Comics and Philosophy: From Maus to She-Hulk.
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