On page 134 of Fun Home, Bechdel writes, “It was a vicious circle, though. The more gratification we found in our own geniuses, the more isolated we grew.” Illustrated along with this text is a large panel presenting the Bechdel household with circular panels drawn on the side of the house to detail the separate goings on inside each room. Each figure is also painted in a silhouetted form, creating a dissociated and an impersonal impression for which to view the Bechdel family. “While Bruce Bechdel
education source that wrote the “The Complete Maus Study Notes” argues that the use of borderless panels in Maus offers a sense of “space and freedom of words, actions, and feelings that link to different places in time and space” (HuntingTower, n.d.). Within this scene, the sound effects produced by a community in stomach pain is the only visual demonstration the audience sees. By leaving the panel borders open, this vague image leaves the reader to freely imagine different spaces of the current
social contract. Like all graphic novels and comic books, gutters are one of the extremely important aspect of the art. Gutters are a way for the reader to provide their own closure. The use of the closure throughout the gutters is a way for the reader to conceive with their own closure and imagination of what is happening. For example, on page……, the panel transition between panel… and … shows the minimal time transition between each panel. V for Vendetta was written at a time when there were multiple
is imperative the reader look to the gutter of the comic. The gutter as defined by Scott McCloud is when the “Human imagination takes two separate images and transforms them into a single idea” (McCloud 66). In his chapter “blood in the gutter” McCloud explains, violence often happens inside the gutter to protect reader’s sensibility. However, violence is not the only thing that happens in the gutter, anything deemed perhaps too risqué also happens in the gutter. Therefore, much of the character’s
elements such as panels, gutters, and graphic weight. The panels, or distinct segments of a comic containing a combination of images and texts, provide transitions that are instantaneous and direct. For example, on page seven, Satrapi uses a panel to show an innocent conversation with her grandmother about the rules she will assign once she becomes a prophet. The author also uses gutters - the space between framed panels- to clearly show where time happens. For instance, on page three, a gutter is used between
When the artwork is reduced by half, the resulting image is crisp and detailed. Spiegelman drew Maus at its actual size. Why do you think he did? Look carefully at the frames (the lines around the panels) and the gutters (the space between the frames). Gaps in the borders and lines intruding into the gutters are considered “unprofessional”. Why do you think Spiegelman drew Maus this way? You must choose your words wisely when you begin to describe Spiegelman’s artwork. Some adjectives that come
animals to represent the humans in the plot. The type of animal portrayed is dependent on the nationality of the human being resembled. The Jewish characters, such as Vladek and Art, are depicted as mice (pg.11, top left panel), the Polish are drawn as pigs (pg.28, bottom panel), the Germans are cats (pg. 33), and the Americans are dogs (pg. 125, bottom right). These animalistic icons aid the reader in clearly distinguishing between the different groups of character, establishing a prevalent a motif
diegesis. Most of the panels in Ella Cinders are seen at eye level however sometimes the artist changes the framing style to point out an important aspect of the story to the reader. An example would be in panel 3 on tier 4 in comic 1 where the panel is seen at a low angle to show that Ella Cinders has to look up to see the gorilla who is in the tree. Charlie Plumb usually puts great detail into the background of Ella Cinders which is important when using depth of field framing. In panel 2 on tier 1 in
Khairenitar station of Tanahun……………..4 Figure 3: map of precipitation in 2008 in Khairenitar station of Tanahun……………..4 Figure 4: Dimensions and choice of the appropriate size of both gutter and outer drain for the right roof size ……………………………………………………………………………..…..6 Figure 5: Schema of the structure of a gutter …………………………………………………..…..6 Figure 6: Material requirement for the construction of a rainwater jar:………………..7 Figure 7: Drawing shows the dimensions of iron molds for the jar body and rim
becomes sixteen, she tries new stuff, coating her hair with gel, adding a thick line of eyeliner, and using safety pins as earrings (Persepolis 2, 36). As you see in the panels, she experiments with her hairstyles, which would not even be seen under the oppressive Iranian regime. Each new style is in a completely separate panel, showing the time passing between each event (McCloud 101). It takes time to develop an identity. She is allowed to express herself in Europe, and because of this, she is