Graphic/comics techniques: some terms and definitions

Some points for Graphic novel technique and form

1. Subjective motion: in contrast to objective motion, from an outside perspective, motion is represented from a character’s inside perspective.  (Not a character jumping from a diving-board with motion lines tracking the dive, but a character jumping from a diving-board with an image of the water rushing up at him.)

2.  Iconic to realism range: the scale from iconic figures (think the abstracted human form of stick men or smiley faces) to realistic figures (think the representational or “illusionistic” form of the characters in Death Note).

3.  The gutter (white space between comics panels) and closure (the reader’s imagining what happens between panels). 

4.  Transitions: McCloud describes 6 different modes of transition between panels:

1. Moment to moment: a micro-breakdown of a story point into smaller parts, distributed over multiple panels.
2. Action to action: one action to the next, panel to panel.
3. Subject to subject: one actor to the next, panel to panel.
4. Scene to scene: one scenic composition to the next, panel to panel.
5. Aspect to aspect: a series of segments from the same image, distributed over multiple panels.  These add up to a single image or scene.
6. Non-Sequitur: the panel following does not have a clear connection to the preceding panel.  There is a leap or a divergence in logic. 

EXAMPLES HERE: http://spoonfulofhahne.com/panel-transition/


5.  Graphic weight, that is, the use of lights and darks, patterns or repeated series of marks for contrast, highlighting, other effects.

6.  Emanata: various graphic signs used in comics to convey information that goes beyond what could be perceived visually in the diegesis: e.g. sweat beads (for fear or anxiety), light bulb (for idea), etc. So named because they usually “emanate” from the head or body of a character. Emanata can suggest psychological or emotional states, sounds, smells, physical impact, etc.

7.  Framing (thanks to Andre Molitiu):

Framing. The set of choices made by the artist in isolating a part of the diegesis to illustrate in one panel. Such choices include, but are not restricted to:

Distance of framing. The implied distance of the represented figures, objects or events from the viewer. Terms for specifying distance of framing include: long shot, medium shot, close-up, extreme close-up,extreme long shot, etc.

Angle of framing. The implied height of the viewing position in relationship to the represented scene. Terms for specifying angle of framing include: straight-on angle (eye-level framing), high angle (bird’s eye view),low angle (worm’s eye view).

Canted framing. Framing in which the horizon (whether visible or not) of the represented diegesis is at an angle to the horizontal of the page. Note: geometric perspective in non-canted framing often results in the tilting of the represented verticals away from the vertical of the page. Such instances do not necessarily constitute canted framing.

Depth of field. The span of distances of framing covered by figures or objects within one panel. Terms for specifying depth of field include: shallow focus (everything shown is at approximately the same distance from the implied viewer); deep focus (elements of the diegesis at varied distances from the implied viewer can all be seen clearly; for this reason, some panels with deep-focus framing may not be easily defined in terms of distance of framing).

Point-of-view framing. Framing that reproduces or approximates what one character sees.

Montage Panel. Panel that combines several iconographic elements that otherwise do not belong together in the same spatial relationship; can represent psychological state or conceptual (extradiegetic) space.

Figures of Substitution. Sometimes, characters in a panel are not represented in full, or their presence is indicated only by objects associated with them. Substitution can usually be judged by comparing the stated (in the caption or balloon text) or implied narrative import of the panel with its visual content. Categories of substitution include: Metonymy (substitution by association; for example, “batarangs” standing in for Batman);Synecdoche (part for whole; for example, only the hand or foot of a character is shown); and Metaphor (by simile; for example, in Lone Wolf and Cub an actual wolf and cub may stand in for the human characters).

Molotiu provides a more detailed account of comics technique here (Copy/paste link):

http://comicsforum.files.wordpress.com/2013/07/list-of-terms-for-comics-studies-andrei-molotiu.pdf