AffiliationUniversity of Chester
MetadataShow full item record
AbstractThis chapter contextualises narrative drawing, first identifying types of drawing that are specific to comics. It proposes that the comics medium intervenes in the long history of drawing, by introducing polygraphy as a recurrent feature of comics. Referring to Bakhtin’s concept of polyphony (or multiple voices) in the novel, polygraphy accounts for the techniques of accumulating diverse graphic indices of the labour and ideas of drafters and comics producers and distributors. The chapter shows how polygraphy produces comics, considering the work of William Hogarth, Katsushika Hokusai, Rodolphe Töpffer, Marie Duval, George Herriman, Winsor McCay and Osamu Tezuka. Through this cast of creators, the chapter also foregrounds important moments in comics history such as the boom in periodical print in the nineteenth century, the influence of acting and performance practices and later movie. This chapter equips readers with the necessary tools to understand the fundamental means of visualising stories in comics – drawing – and offers a comics history contextualized through relevant developments in popular visual and print culture.
CitationGrennan, S. (2023). Comics drawing: A (poly)graphic history. In M. Ahmed (Ed.) The Cambridge companion to comics (pp. 25-45). Cambridge University Press.
PublisherCambridge University Press
DescriptionThis material has been accepted for publication by Cambridge University Press, and a revised form will be published in [The Cambridge companion to comics] edited by [Maaheen Ahmed] [http://doi.org/10.1017/9781009255653]. This version is free to view and download for private research and study only. Not for re-distribution or re-use. © copyright holder.
The following license files are associated with this item:
- Creative Commons
Except where otherwise noted, this item's license is described as Attribution-NonCommercial-NoDerivatives 4.0 International