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Name: ________________________________
Concept Formation & Visual Rhetoric
How do artists derive their creative concepts?
1. Read the subject matter
2. Derive overall psychological impact
3. Try to convey a understanding visually
J. Shadbolt, marketing designer, remarks “It’s easy to make an elegant decoration, but
quite another thing to evoke exact implication.”
The remark addresses some of the fundamental problems in design:
1) What do we see?
2) What meaning can we derive from the image?
3) How is meaning created in the visual design as a result of
textual knowledge?
o
The more we know about a subject matter, the more we are able to read an image. Our reading is
influenced by our familiarity with the subject matter.
Main characters:
o
Symbolic Connections:
o
4) What is the “literary” nature of the relationship between the image and the text/concept in the visual design?
o
Content/Form—Of Mice and Men, a novella by John Steinbeck
o
Expression?/Substance
o
Hyperbole—
Applying Visual Rhetoric to Persepolis
1. Graphic novels allow for innovative approaches to understanding diction, imagery, syntax, structure, and
language.
2. The images need to be understood as a language that needs interpretation.
3. Artists intentionally or unintentionally use their knowledge of literary and rhetorical figures to express
supplementary interpretive value.
Figures of Contrast
Antithesis:
How does the image illustrate antithesis?
Figures of Proximity
Metonymy:
How does the image illustrate metonymy?
Figures of Proximity
Synecdoche:
How does the image illustrate synecdoche?
Figures of Proximity
Pun:
How does the image illustrate a pun?
Figures of Contrast
Irony:
How does the image illustrate a pun?
Figures of Graduation
Amplification:
How does the image illustrate amplification?
Figures of Graduation
Hyperbole:
How does the image illustrate hyperbole?
What do I see?
• In the first frame I see a little girl
looking straight at the reader who
appears to be unhappy with her
mouth turned down in the
midground of the frame wearing a
veil with her arms folded on
something.
• In the second frame I see four
1. What do I see?
2. How does the image
connect with the words?
3. What rhetorical and
graphic writing devices
is the author using?
How does the image connect with th
words?
• The page is titled “The Veil”
• In the first frame the words
identify the age of the little girl,
the time in which the story is
currently taking place, and that
she is our narrator.
• In the second frame, the narratio
What rhetoric
devices is the
• The gu
graph
these
create
• It illus
o
What does it mean when it is all put together?
• These first two panels illustrate how difficult it is to be recognized for one’s human individuality when
Iranian girls to wear the uniform of the veil emphasizing sameness.
• In the first panel, we learn that it is 1980, and our protagonist is living during a time of Islamic fundam
referring to herself as “me” instead of identifying her name, Satrapi, she further illustrates her lack of
emphasizes that she is lost in the sea of black veils.
• In the first panel, Marji, our protagonist, looks directly at the readers begging us to see her as distinct
• The second panel both compares by extending the table from the first panel to the second and juxtapo
gutter. The graphic writing illustrates that Marji knows we are unable to distinguish her from her mass
• Visually ironic, the opening panels of Persepolis “dramatize a conflict between individuality and univer
plays out through the remainder of the text as Marji learns to define who she is while walking the tight
her public life.