The Visual Linguist

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A blog discussing the structure and cognition behind the visual language used in comics, it's relationship to language, along with other assorted topics on linguistics, art, communication, and graphic expression.

Neil Cohn
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  • October 12, 2010
  • 02:07 PM
  • 470 views

Kid's sequential drawings

by Neil Cohn in The Visual Linguist

This is a summary/review of an article I thought had particularly compelling evidence for why understanding sequential images is a learned trait. Highlights are all mine...Narratives of urban Japanese children (manga) were compared to those of village Egyptian children. The argument was made that development differs based on graphically “rich” versus graphically “poor” environments. Egyptian ... Read more »

Wilson, Brent, & Wilson, Marjorie. (1987) Pictorial Composition and Narrative Structure: Themes and the Creation of Meaning in the Drawings of Egyptian and Japanese Children. Visual Arts Research, 13(2). info:/

  • September 16, 2010
  • 03:20 AM
  • 421 views

Gestures in comics

by Neil Cohn in The Visual Linguist

A doubleshot of reviews**: Fein, Ofer, & Kasher, Asa (1996). How to do things with words and gestures in comics Journal of Pragmatics, 26 (6), 793-808 DOI: 10.1016/S0378-2166(96)00023-9This study looked at the role of gestures in comics (specifically, those in the European comic Asterix). The study had people interpret the meanings of both panels from the comics, and of photos where people took ... Read more »

Fein, Ofer, & Kasher, Asa. (1996) How to do things with words and gestures in comics. Journal of Pragmatics, 26(6), 793-808. DOI: 10.1016/S0378-2166(96)00023-9  

  • February 7, 2011
  • 01:13 PM
  • 374 views

Review: Children Interpret a Comic

by Neil Cohn in The Visual Linguist

This insightful article examines children’s understandings of comic books over time using a Western comic A Gunman in Town!. The study looked at ten children in each of 3rd, 5th, and 8th grade, balanced for gender and race with diverse socio-economic status. They were shown each frame individually and asked its contents following each panel. This might not have hugely hampered the sequential understanding though, since the panels seem largely dominated by text.All the children recognized broader information: that the book was a Western and that it would end with the villain losing. All the children were concerned with the concept that the story was going to end, showing knowledge of it as a story and that stories have endings. Most of the phenomena showed small jumps and differences in understanding between grades. For instance, in readings of the last panel of the book, a steady increase of children recognized the correct reading order of word balloons (Grade:number of kids – 3rd:2, 5th:4, 8th:7). Many third graders would skip over reading dialogue, especially when it was heavy in panels. They also will gather most of their reading from stereotypic knowledge, missing important story elements or filling in missed information with further stereotypic knowledge about genre. Fifth graders pick up far more information than third graders, with explanations seeming less stereotypic – allowing them to anticipate and integrate events more quickly and accurately. Eighth graders “move back and forth between their knowledge of conventional genre structure and the particular story” (46). Fifth graders are more capable of predicting future events from individual panels — each panel implies something about future events. While eighth graders can predict to the end of the story, fifth graders make more short-term predictions about action sequences. Eighth graders see the story as conventionally ordered by the dictates of the genre. Two strategies were used by eighth graders. When uninterested, they use a “flat” style that perceives and decodes the story as it unfolds bit by bit. A contiguous reading style incorporates the understanding of the genre to expand on the given information with schematic knowledge (unlike with third graders, this isn’t to make up for missed information though).These results further indicate that the ability to understand sequential images increases with age, and perhaps with exposure/experience.Pallenik, M. (1976). A Gunman in Town! Children Interpret a Comic Book Studies in the Anthropology of Visual Communication, 3 (1), 38-51 DOI: 10.1525/var.1976.3.1.38[Originally posted: 12/24/07]... Read more »

Pallenik, M. (1976) A Gunman in Town! Children Interpret a Comic Book. Studies in the Anthropology of Visual Communication, 3(1), 38-51. DOI: 10.1525/var.1976.3.1.38  

  • September 7, 2010
  • 08:41 PM
  • 360 views

Review: Brain damage and ordering of panels in comic strips

by Neil Cohn in The Visual Linguist

I recently reviewed an older study of brain damaged individual's comprehension of final-panel jokes in comic strips. Here's another paper that explores brain damage and the ordering of panels in sequences.Participants were asked to arrange scrambled parts of a story into their accurate order, and the authors compared the abilities of numerous types of brain damaged patients. Participants ... Read more »

  • November 5, 2010
  • 03:26 AM
  • 309 views

Review: "Copying and Artistic Behaviors"

by Neil Cohn in The Visual Linguist

Smith argues that the negative views on "copying" demonstrated by art educators since the 50s is misplaced in some contexts. She claims that some forms of copying are good, and the relative value of copying is based on three factors: need, model, and process. She examines varying fields through use of a corpus of comics produced by American children, noting that themes and genres are copied greatly. She didn't find that the children copied the drawing style as much. My curiosity is whether this is due to lack of practice/exposure though. The examples given by a child with "unusual ability" seem hardly on par with Japanese drawings of children of the same age that copy manga en masse. This child did copy various elements of drawings, though not absolutely. For instance, when copying Charlie Brown, he imitated parts but altered/left out others. Another child drew the typical "lumpy" figure of Captain America to show his musculature. Smith conjectures that his intent was to draw someone "strong" as opposed to drawing a bicep in particular.To this extant, these children's copying seems to be drawing characters/features to the point of recognition — not iconic match. In other words, they're trying to convey concepts visually, not create "realistic" pictures (or even "accurately" imitated images). While interesting to see much support given to imitation, most of it is not structural, and still maintains an "Art" perspective. The "need" assigned to copying is largely social or emotional/psychological, not structural or cognitive. (For instance, it says imitation suits a child's need to "play out" conflict in fantasy, as opposed to saying that children copy because their brains are pattern seeking machines).Social need is Language-like though, as it heralds conventionality. She also marks copying as important as a natural behavior in socialization, since "younger children initiate copying as a means of acquiring desired knowledge" while "older children want to master images representative of their culture" (147). Also interesting was her statement why she wanted to look at comics in the first place: "Comic strips are of interest because children frequently and spontaneously initiate copying of them despite disapproval" (148). No citation is given to this statement, but are comics copied more than other forms of visual communcations in culture? (it wouldn't surprise me if the answer is "yes") And, if so, doesn't that say something about the structure of the stimuli in relation to the human mind — like maybe these signs are somehow attuned to acquisition and socialization?Smith, N. (1985). Copying and Artistic Behaviors: Children and Comic Strips Studies in Art Education, 26 (3) DOI: 10.2307/1320320[Originally posted 5/15/07]... Read more »

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