So my stop-draw was made specifically with the class in mind, so I changed it. Let’s see how it goes.
In Unflattening, Sousanis discusses the interplay between text and image, especially with regards to comics. It reminded me of how often it is in the comic book industry for writers to dictate what is drawn, and for artists to dictate what is written.
Stop-draw prompt- the first person who responds to this post comes up with a caption for the picture below. The next person draws a picture based on the first person’s caption. The person after that makes a caption for that picture, etc…
As I read through Syllabus, I noticed how there were many times where the pictures had to contort around the text, and vice versa. There are other times, however, where that is not the case. The page (pg. 88) below is a good example. I was immediately drawn to the “Hate Cr-ay-on-!” in the top center of the page. This statement has conformed to the contortions of both the other drawings and texts. The painted strips on the bottom left, however, are allowed to cover up Chew-Barry. It made me think about the negotiation of space. How do visual rhetors negotiate space between different elements, and what do those decisions imply?