Monthly Archives: August 2014

Assignment 1 – Draft 1 and 2

For Assignment 1, we were tasked to tell a story in 5 frames. I came up with 2 stories for the critique because I was unsatisfied with the first one.

Story 1

A1_Critique_Yap Yoke Ling



1. The wind effect is confusing in the 2nd frame
2. Do not understand what the “ghost” effect in the 3rd frame is trying to portray
3. The transition between frames 4 and 5 is too big

1. Use horizontal instead of vertical sequence
2. Create another frame between frames 4 and 5 which shows the female marshmallow jumping down

Story 2

A1_Critique_Yap Yoke Ling (new draft)

1. Make the first 4 frames seems to portray the subject as if she is studying, but in the last frame, create a twist whereby she is actually reading something else in front of the notes.

2. Change the title – procrastination does not tally with the comic; frames 2-4 seems to show that she is hard at work although its meant to be procrastinating.

3. If I want to keep the title “Procrastination”, the subject should do other actions (e.g. use her phone, sleep) to portray the “procrastination”


Class Exercise 3

For class exercise today, we were given the following questions:

1) Discuss why this work has or has not successfully in telling a story?

2) By keep the title of this work, and maintaining 5 frames, how would you make it work better, if you are in full control of the production (change composition and layout).


Title: Curiosity makes for a magical few minutes! 

deer 1

deer 2

Image from


Limitations of the work:

1. The element of curiosity has not been presented explicitly

2. Transitions used are mostly the same


New story proposed by our group:

1. Deer spotted

2. Deer looking directly at the camera

3. Deer running towards the camera

4. Empty space without the deer

5. Close up shot of the deer licking the camera

Class Exercise 2 – Panel-to-Panel transitions

For today’s lecture, we were asked to examine Scott McCloud’s 6 categories of panel-to-panel transitions.

According to McCloud, there are 6 categories in panel-to-panel transitions. They are in increasing necessity for closure by the audience:
1. Moment-to-Moment
2. Action-to-Action (single subject in distinct action-to-action progressions)
3. Subject-to-Subject (stays within a scene or ideal reader involvement necessary to render these transitions meaningful)
4. Scene-to-Scene (transports us across significant distances of time and space)
5. Aspect-to-Aspect (bypasses time for the most part and sets a wandering eye on different aspects of a place, idea or mood)
6. Non-Sequitur (no logical relationship between panels whatsoever)


For in-class exercise, we were to recreate 3 five-frame comic strips based on the following comic:.


Here are the comic strips created by our group:

Yoke Ling_Paul_Dennis_Ross


Interesting facts I found out from the chapter:
– Categories 2-4 are the most frequently used transitions in American comics because they explain events efficiently.
– Action-to-action, in particular, is the most used transition.
– Aspect-to-aspect transitions play an important role in Japanese mainstream comics
– Western culture readers are trained to read each page from left to right, top to bottom. However, the opposite reading sequence is employed in Japanese manga.


I didn’t know there were so many techniques involved in creating comics! I’ll guess I’ll never read comics the same way from now on…

Class Exercise 1 – Defining Sequential Art

Today marks a brand new semester!

In our first lecture today, we were tasked to discuss and decide on a set of criteria that would define “sequential art”.

A quick search on the Internet gave me this definition:

“Sequential art is an art form that uses images deployed in sequence for graphic storytelling or to convey information.”¹

Here is the set of criteria that our group came up with:

1. Before & after
There should be a story, however short it is. There should be a minimum of 2 frames.

2. The order of the frames should convey the intended meaning
Interpreting a series of frames in different orders naturally alters the meaning of the story. If the

3. Image > Words
The images should be the main message conveyer, not the words (if there are words)

We were tasked to look at various images and decide whether they were considered sequential art.

Examples of sequential art


Airline instruction booklets


Comic strips


NOT sequential art


This infographic conveys a message but does not have images in sequence.


We had a bit of a discussion about the following art piece by Picasso. Should it be regarded as a single image (and therefore not be considered sequential art), or should we take into account the individual frames within? If we do, it would be considered sequential art since it depicts process of the bull transforming gradually into its minimalist form.




The split frames above seem to have no relation with each other, but I think this could possibly be sequential art; the story might be about a man who turned into a dog. We never know!


kiaer_20c_12 Marcel_Duchamp_Nude Descending a Staircase

Compare the two images above. They are both made up of split images, but the first image is made up of 3 split images that are the same, while the latter constitutes split images that look subtly different, giving forth a sense of movement. Therefore, I consider the 2nd image sequential art, but not the first.


I’m not sure if my interpretations are correct; hopefully as the course progresses, I would be able to gain a better understanding of what actually is sequential art 🙂


¹ EISNER, Will, Graphic Storytelling & Visual Narrative, Poorhouse Press, 2001 (1st. Ed., 1996), p. 6