Image and Word Relationship

In general images are thought indefinite and their meaning is open to interpretation, while words can convey meaning very accurately. The image-word relationship is complementary when they are both equally necessary for understanding the message in comics. McCloud suggests that people have a misconception that the combination of words and images is simplistic.

McCloud outlines the meaning of the word-specific combinations in the relationship between word and image that occurs when images do not significantly add anything to a panel for the reader to understand the artist’s point. McCloud also describes the picture-specific dominance found in comics, although images illustrates the words, the words are not necessary for the reader really to understand what is going on in the panel. (1993 p.153)

McCloud provides an example in a picture of a woman is called Amy who is crying. Amy is upset, and therefore a caption of “I feel so unhappy” is not required and would be likely the reader’s engagement with the story.

Figure 11. Understanding comics (1993), page 160

McCloud then also discusses duo-specific panels, in which both words and images send essentially the same message therefore their existence together supports the others strengths. The most common type of word and image combination is the Interdependent combination that where both go hand in hand to convey an idea that neither could convey alone.

For instance, McCloud provides an example of an image of Amy walking across the street in the rain, buying a pint of ice cream and eating it in her apartment. (p.157) The reader would not be able to know the difference between what they see and what is really going on without the crucial relationship between words and images. In this combination, the words and image work to communicate and complete the meaning at the same time.

Figure 12. Understanding Comics (1993), page 157 Images combined with words strengthen the images and add another opportunity for interpreting meaning. Figure 13. Understanding comics (1993), page 159 But interdependent combinations are not always an equal balance. When pictures carry the weight of the clarity in a scene, they free words to explore a wider area and vice versa. (p. 157)

Readers build an understanding of meaning constantly, and it changes through a word- image combination that contributes different information in terms of interpretation of words. While the words lock in the meaning, the image can produce deeper meaning just like an advertisement statement. (Fig. 14)

Figure 14 Understanding comics (1993), page 159

Resources:

Eisner, W. (1985), Comics and Sequential Art, (Florida: Poorhouse Press)

McCloud, S. (1993) Understanding comics, (New York: Harper Perennial)

Pustz, M. (1999) Comic Book Culture: fan boys and true believers, (USA: University Press of Mississippi

Step-By -Step to a Figure Composition :

The idea is to show a step-by-step lesson in making a figure composition that is a logical and consistent process. As your skills increase you will be able to take many short cuts, but only practice will help this.

Composing pictures is always a balance between an intellectual assessment of the task and its organisational skills and an emotional response.

Step 1 : - The Format - What shape and size will this composition be? The format will square, portrait or panoramic.

Step 2: There should be at least two figures to make a composition, but it could be three, four, five or even more.

Step 3 : What Space will the figures occupy? Will the composition have a large upper space and the figures in the lower area sweeping up to the right side towards to top.

I decided that a landscape format would be the right one. To make a grid, attach four threads to the card: one from centre top to bottom, one from centre left to centre right and two diagonally from corner to corner. Make sure they are pulled tight so that they all meet at the centre of the rectangle.

Step 4: Use simple geometry, looking for simple geometric shapes such as triangles and squares will help you to see the overall form of the figure and achieve a cohesive composition within your format.

This quick sketch figure, is a simple triangular composition between her feet, buttocks and the top of her head creates a settled-effect.

Step 5: The principle of emphasis is concerned with the creation of areas of importance for the viewer to focus upon nevertheless colour plays an important role in attracting attention for it is seen before form.

The artist can predetermine the focal points of the work in order to convey the message intended. The "Golden Rectangle" grid construction also shows how focal points can be effectively placed.

Mona Lisa, is one of the most great example of using rectangle shape, and is a very good example of Da Vinci's use of the golden ratio in art. If you draw a rectangle around Mona Lisa's face, that rectangle will turn out to be golden. The dimensions of the painting itself also form a golden rectangle. As well, the proportions of Mona Lisa's body exhibit several golden proportion . For example, a golden rectangle can be drawn from her neck to just above the hands.

Step 6: Using space in your composition can suggest as much about the mood of the piece as the pose.

A Book Cover Design

The Cover Structure :

Structure is to govern the positioning of grid forms. Structure is the underlying discipline for such arrangements such as book cover desgin.

Grid: Grids celebrate harmonious proportions, they create consistencies in negative and positive space. Grids are invisible structure unifies the book cover.