The Art of Comics - Aaron Meskin, Roy T Cook - Bok () | Bokus
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The answers are found throughout Maverick Real Estate Investing. On the other hand, there are also criticisms. There is a lack of literature in the area for studying more recent guoxue comics. This is expected as none of these new artists have made such a huge success as Cai. This is probably due to two reasons: firstly, Cai is the first acknowledged comic artist to have adapted guoxue into comics and his dominance in the field makes it more difficult for new artists making similar works to outstand; secondly, unlike Cai who was aiming his comics at the general audience, most recent works tend to aim at schoolchildren, serving as extra studying materials.
This causes the reduction of readers and thus the decrease in significance. This analysis would not only fill in the gap of this research area, but also explore the differences in visualising abstract thoughts between an artist from the s and artists from the new era. I will be using visual research methodologies to analyse the selected comic works.
In this case, the study subjects are the panels in the pages of the comics. Since comics are graphical artworks created by artists, I will apply an analysis method specifically proposed for graphical arts: to deconstruct the visual work and uncover new artistic approaches Noble, Additionally, Pauwels states several focus points of analysis in visual research: the depicted, the style and the form.
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As a summary, I will break down the comic pages into several aspects of visual construction regarding depiction, style and form: 1 layout of the page; 2 character designs; 3 graphical adaptation of textual contents through panels; 4 text and dialogues in the comic; 5 narrative; 6 drawing style. I will conduct a comparative analysis to accentuate the different styles that different artists work with. They do not directly visualise what is mentioned in the original text.
Borrowing stories makes the creation of comics easier, since the original text is difficult to visualise due to its didactic and conceptual attributes. However, I am doubtful about this approach as it might confuse the reader and make them believe that those alternative stories actually come from the original literature. I also argue that this approach has gone beyond a discussion of fidelity and could raise questions on whether it can be considered as adaptation. I would not go further here as it is beyond the scope of this paper.
The scenes in each panel are correspondent to the contents of the original text. In the following paragraphs I will analyse and compare the comics of Cai and Wang, for that they have most successfully visualised the verbally-described concepts and thoughts without adopting stories from other sources. To make the comparison more reliable, I chose the comics that depict the same piece of classical literature. I picked out an example quote from Confucius Analects :. Youth should be filial at home and respectful to elders when outside.
He should also be sincere and trustworthy, love all and befriend with the kind. When he has done all of the above and still has time remaining, he can pursue academic knowledge. We can see this is a homiletic quote that tells young people to behave well. No stories or narrative features of any sort can be found in this quote. This is what makes the visualisation challenging. Both have adapted this quote into comics, and I will make some visual-oriented comparisons.
As the comic artist most loyal to the original classical piece, Cai has adapted this quote phrase by phrase with his comic. Each panel depicts one or two virtues mentioned in the quote.
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There is a main character in the comic: a young, scholarly man dressed in traditional Han robes. Guangzhou Publishing House As a result of traditional Chinese book layout, the panels are to be read from the top right corner to the bottom left. Although the original quote is not shown in this page, Cai used the first phrase from the quote as the title at the beginning of the comic.
The panels have been numbered, but the original comic has not done so. They were probably added by the editor to assist our reading.
The Art of Comics
He used simple but fluent, smooth lines to depict characters, and left out large areas of blank in each panel — both characteristics are often seen in traditional Chinese paintings. Wang used one panel for one virtue mentioned in the quote. He depicted different scenes in our real life as an approach to visualising the thoughts conveyed in the text. He also created a main character for the comic: a young boy in the contemporary era named Xiaohuan. The second panel is Xiaohuan helping a young girl carrying heavy luggage outside a station.
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Wang used a conventional comic form, namely the four-panel comic. The layout order of the panels is contemporary: from left to right, top to bottom. The original text is written on top of the panels, while the modern Chinese translation is underneath. The comic is coloured in monochrome. Both Cai and Wang have created a main character for the comic, but Cai designed a character from the ancient times while Wang designed a modern one.
A character is believed to be one of the elements of a comic strip Harvey, On the contrary, Wang did not depict scenes of Confucius teaching his students in his comics. He was more concerned with the ideology itself in Confucius Analects and was less worried about the historical settings.
As a contemporary artist, he chose to use contemporary scenes with contemporary characters to convey Confucian thoughts. This would make it easier for his target audience — children — to understand those Confucian virtues, as they could refer the scenes to their daily lives. Compared to Cai, Wang used more specific stories. Each panel is an independent story and the stories were made very simple for the reader to clearly understand. It is interesting that Cai has depicted almost everything mentioned in the quote but Wang has omitted the last part about pursuing academic knowledge.
This is probably because Wang needed to keep his comics four-panelled, while Cai did not make himself any rules on the number of panels, thus Wang ended up depicting the first four virtues mentioned in the quote. Cai has also shown his intention of creating a traditional Chinese atmosphere in his comics by adapting traditional painting aesthetics.
Wang did not consider that as essential and used a modern cartoon style. By combining traditional painting techniques with modern comic cartooning methods, Cai made his works distinguishable in the foreign market, despite the Chinese-culture-based content of the comics. Wang, however, cared little about making his comics with traditional Chinese aesthetics, just like that he was less concerned with historical settings. Wartenberg … argues that the image is the most important part of the comic as it doesn't need words to be comics, and it's hard to disagree with that, but it's also hard to see it as an important breakthrough.
He also doesn't want to exclude single-panels from the comics definition, but again the reasons for doing so seem a bit thin. Wartenberg points to how The Yellow Kid is generally held to be the first newspaper strip besides being a single panel comic, but that something "is held to be" something by some is a pretty poor argument for defining it that way.
Again, I think something would be gained from separating the definition of the comic form — basically a sequence of pictures intentionally creating a narrative — from the issue of whether some published work should count as a "comic" or not. Comic Content in Depiction , by Patrick Maynard … basically argues that humor strips signal their ephemeral content by being published on the comics page and by being drawn in a simple, cartoony style.
Why not just analyze how comics actually achieve the effects they achieve?