11:37 | 
Posted by
GroupLit |
Level of Abstraction
In chapter 2 of his book, McCloud discusses the vocabulary of comics particularly the “level of abstraction” when it comes to character design (suggesting that the simpler the character the more relatable it is) (1993, p. 28). When analyzing Eisenstein’s level of abstraction many things can be observed. Eisenstein’s characters are not photo realistic, but in a way she creates a realistic feeling with characters such as her father and a relatable feeling with characters like herself. Eisenstein states (in reference to her father):
I knew that I didn’t want to just paint him in a realistic manner, to have him only recognizable from his physical being. I wanted to describe and place on paper what I felt was inside of him—a distillation...So when I draw him, his essence comes forth—and then I am in his company, having a conversation with him. (Eisenstein, personal communication, 2011)
Fig. 1. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (pp. 30-31), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd. (I apologize I could not scan the entire picture without ruining the book).
When examining the portrait Eisenstein created of her father (on pp. 30-31, please refer to Fig. 1) many things are conveyed on an emotional level. For example, the exaggeration of the father’s eyes allows them to have a stronger emotional impact. His eyes seem to stare out right through the reader as if he is focused in thought, as if he knows something he just won’t say. McCloud illustrates this level of abstraction Eisenstein uses when he states:
When we abstract an image through cartooning we’re not so much eliminating details as we are focusing on specific details. By stripping down an image to its essential ‘meaning’, an artist can amplify that meaning in a way that realistic art can’t. (1993, p. 30)
Fig. 2. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (p. 78), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
Fig. 3. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (p. 77), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
Fig. 4. Eisenstein, B, (2006). [painting]. From I was a child of Holocaust survivors (p. 90), by Bernice Eisenstein, 2006, Toronto: McClelland and Stewart Ltd.
Eisenstein’s own character also uses a level of abstraction, but in a slightly different way than others. While her appearance is only slightly more abstract than others, her actions are more abstract and she has a different function than others.
Eisenstein's character can do many things (that are less realistic) that other characters cannot. For example: she can break rules others cannot (4th wall). In many pages she is directing her thoughts out at the viewers. For example: on page 78 she says "confused?" right to the readers (please refer to Fig. 2). On page 69 (2006) Eisenstein even breaks the conventions of comics by landing on another characters speech bubble. She also changes her appearance, for example: on page 77 (Fig. 3) she has glasses and a moustache (for comedic effect). Eisenstein's character has the most abstract and even cartoony actions, and in this way it makes her have a different function than other characters. For example: while her father’s portrait represents a personality and a feeling of/from that person, her portrait (p. 90, Fig. 4) presents her ideals and feelings towards a subject such as art. Her portrait is not as detailed or as emotional as others. This tells the reader that her character’s appearance is less important in a physical sense and also that it was not meant to function in the same way as her father’s portrait. In this way her character is more of a personification of her own thoughts, rather than a separate entity outside of her thoughts. Additionally her character is represented by a child, which almost all readers can relate to. McCloud illustrates these ideas when he states: “…When you look at a photo or realistic drawing of a face—you see it as the face of another. But when you enter the world of cartoon—you see yourself” (McCloud, 1993, p. 36). Through her characters actions and function, she allows the reader to step into her place and experience her memories right along with her.
Eisenstein, B. (2006). I was a child of Holocaust survivors. Toronto, On: McClelland & Stewart Ltd.
McCloud, S. (1993). Understanding comics: the invisible art. New York, NY: HarperCollins books.
Subscribe to:
Post Comments (Atom)
1 comments:
I forgot mention that Scott McCloud is a genius. I got and read the entire book Understanding comics (1993). I'd love to get my hands on the other books he has too. It's my kind of book X-D it's all in comic format! If only all books were like that :-) Here is a link to his site if you want to check him out:
http://scottmccloud.com/5-about/scott-alone/index.html
Also if you're in art, particularly illustration, more specifically in a narrative 4th year class (about comics), you'll want to check him out. He's got a bunch of interesting activities on his site too, like the 24 hour comic:
http://www.scottmccloud.com/4-inventions/24hr/index.html
You may also want to check out
http://grimace-project.net/
In case you want to mess around with facial expressions
-Amy
Post a Comment