The document defines and discusses comix, or comic books. It begins by explaining that comix combine images and text in an integrated way to tell illustrated stories. The origin of modern comix is then traced back through centuries of experimentation to 1895, when Yellow Kid comic strips in newspapers established key elements like successive images telling a story and characters appearing in multiple vignettes. The document outlines common comix elements like the vignette, panels, angles, formats, and use of color and language. It discusses features such as the narrative message and mass media nature of comix, intended for entertainment.

1. COMIX

2. WHAT’S A COMIX?
It is an expressive medium in which
the fixed images and the linguistic
text are combined in an integrated
way.
It is an illustrated story whose action
happens in different vignettes.
Milo Manara

3. ORIGIN OF THE COMIX
The comic as we know it today is the
fruit of several centuries of
experimentation.
The comic is mass media of
communication, which is printed on a
large number of copies.
As such, it is influenced by the
economic, social and cultural
characteristics of the society in which it
originates.
Emil Ferris

4. In 1895 appeared in the newspaper "New
York Journal" a character, The Yellow Kid (a
Chinese dressed in a long yellow nightgown)
that forms the basis of the current cartoon.
This vignette became a strip, with the novelty
that the texts were integrated into the vignette
as signs, as inscriptions on walls, or in the
character's nightgown, until, finally, the artist
introduced the first sandwich.

5. In The Yellow Kid were given, for the first time, 3 conditions that help us to identify the
comic as we know it today:
1. Succession of consecutive images to form a story.
2. The permanence of, at least, one character throughout a series.
3. Integration of the text in the image.

6.  In Spain it is in 1917, with the
children's magazine "TBO” , when the
comic becomes more important.
 In 1921 the magazine "Pulgarcito"
was published, with characters like Zipi
and Zape, and in 1957 they were
created Mortadelo and Filemon.
Francisco Ibáñez

7. The historical comic, represented in Spain by El Capitán Trueno (1956),
El Jabato and El Guerrero del Antifaz (1944), was characterized by its
landscape format (that is, a rectangular and horizontal booklet).

8. FEATURES OF THE COMIX
 Narrative message
 Verb-iconic language
 Use of specific codes
 Mass media
 Its purpose is to entertain

9. COMIX ELEMENTS
VISUAL LANGUAGE: THE IMAGE
VERBAL LANGUAGE: THE WORD
CONVENTIONAL SIGNS

10. THE VIGNETTE
THE FRAMEWORK
THE FLAGS
THE ANGLES
THE FORMATS
THE COLOR

11. THE VIGNETTE
It is the minimum unit of meaning of
the story.
In the vignette, the space and the
time of the narration are represented
by the image.
Osamu Tezuka

12. FRAME
It consists of selecting the part of
reality that best suits to understand
the story in the vignette.
Jorge González

13. GREAT GENERAL SHOT
Describe the environment where the action takes place and
the characters are barely perceived.
Gipi

14.  GENERAL SHOT
 Its dimensions are
similar to the figure of the
character, framing it from
head to foot and references
to the environment are
minor.
Juanjo Guarnido

15. AMERICAN PLANE
Cut the character by the
knees.
Laura Pérez

16. LONG HALF SHOT
Cut the character by
the HIPS.
MEDIUM SHOT
Cut the character by
the WAIST.
SHORT MEDIUM
SHOT
Cut the character by
the CHEST.

17. FOREGROUND
Show the character
from the shoulders.
FIRST FIRST SHOT
It shows the space
between the forehead
and the chin of the
character.
DETAILED SHOT
Shows a fragment or
part of the character.

18. VISION ANGLES
The angle of vision is the
point of view from which
you see the action.
Marjane Satrapi

19. HORIZONTAL ANGULATION
The eyes of the spectator are placed at the level of the thorax or the
head of the characters

20. LOW ANGLE
(CONTRAPICADO)
The action is
represented from top to
bottom.
HIGH ANGLE
(PICADO)
The action is
represented from
bottom to top.

21. CENITAL ANGLE
The cenital angle is the absolute high angle, the angulation
we would need to photograph our feet

22. THE EDITING
The editing consists of
arranging and distributing
the vignettes in the
available space.
Asaf Hanuka

23. The analytical editing
presents the same action in
several vignettes playing
with different points of
view or with different
planes..
Spirit

24. The effect of traveling is achieved by representing in
successive vignettes the same character,
well moving away ... or approaching it.

25. THE FORMATS
The format is the way to present the framing on paper.
• The shape of the
vignette tends toward
the rectangle.
• Other forms of
vignette such as
triangular, circular, etc.
they are sometimes
introduced for aesthetic
purposes.

26. THE COLOR
• Figurative: Give realism
to the image.
• Psychological: Provoke
different feelings.
• Significant: Give a color
different meanings
depending on where you
are.
Lisk Feng

28. VERBAL LANGUAGE IN
COMIX

29. BALLOON OR BUBBLE
(BOCADILLO)
It is the space where the
texts that think or say the
characters are placed.
They have 2 parts:

30. CARTELA
It is the voice of the narrator.
Its shape is rectangular.
It is not put in the image but in the upper
part of the vignette.

31. CARTUCHO
It is a type of poster that serves as a link between
two consecutive vignettes.
The space of the vignette is occupied by the text.

32. ONOMATOPOEIA
It is the imitation of
a sound or noise of
reality. It can be
inside or outside the
globe.

33. VISUAL SIGNS IN COMIX

34. VISUAL METAPHOR
It is a graphic convention, that is, a norm accepted by means
of a pact and by custom to express an idea through an image.

35. KINETIC LINES
They offer the illusion of movements through the use of
lines, clouds, irregular stars, visual decomposition of
movement, etc.