This is the norm for children’s picture books because the simplistic relationship helps with language acquisition. When they duplicate, the words and the image around them communicate roughly the same thing. There are four basic relationships to consider: words and images can duplicate, complement, contrast, or diverge. Think about how the meaning of a set of words relates to the image they are part of or next to. Unlike other kinds of images, words have meanings independent of how they’re drawn. Should the lines that make the bubbles resemble the lines that make the characters? What if each character’s word containers look like that character, so readers know who’s speaking even if no figure appears? Combining Words and Images You, too, will develop your own preferences. Illustration by Grace Robinson for Drawn to MoMA Bottom line: style isn’t separate from visual storytelling, but one of its main tools. And if you tell the story in a detailed but exaggerated style, the effect could become surreal, reshaping the content to affect viewers in unexpected ways.Īnd who said a comic has to have only one style? Style can vary from image to image, according to changes in time, location, point-of-view, or even a character’s mood. Draw that same story in a detailed and realistic style, and your viewers are going to experience it more viscerally. If you draw a difficult personal story in a cartoon style, it might soften the difficulty, possibly making the story less upsetting or affecting. Think about what this means for your own comic. Style can transform almost any subject matter. Anna Haifisch’s figures in “The Artist,” on the right, are even more exaggerated, showing people that are amorphously blob-like in contrast to the main character’s impossibly skeletal shape. Notice how Warren’s lines are sometimes so loose they no longer follow the actual shapes of the people they represent, while Park’s tighter lines reproduce those shapes more precisely. Look at the drawings by Warren and Park again. On the other hand, a caricature is unrealistically shaped because certain facial features are enlarged, whether they are detailed or not. A silhouette of a person is extremely simplified yet still realistically shaped. Images can vary not just in their level of detail, but also in the shapes of these details. You can spend hours exploring them, but here’s a brief introduction to each. So let’s focus first on the five features that are probably the most important: image style, words and word containers, word-image relationships, undrawn inferences, and layout. Your own comics can be about anything too, and making them involves a dizzying range of possibilities. The form can encompass any subject and can be found practically anywhere, including museums like MoMA. Larissa Raphael and Arlette Hernandez, Department of Educationīy now you know that comics aren’t just drawings of spandex-clad heroes in garishly-colored magazines. Then, try your hand at some creative prompts inspired by Chris Gavaler’s article and works in MoMA’s collection. Read on to learn more about the elements that make comics unique and discover examples from our illustrated series Drawn to MoMA.
This is the second edition of How to Make Comics, a series for teachers, families, and comics lovers who are interested in learning about the medium.
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