As artes sequenciais (AS) ou narrativas gráficas (NG) são uma modalidade de expressão híbrida (multimodal) composta de texto imagem e texto palavra. Ao longo de toda sua história, as NG têm enfrentado diversos desafios na academia e no mercado, e, mesmo sendo um assunto de complexa multidisciplinaridade, é objeto de poucas pesquisas no design visual, que possui amplo conhecimento em metodologias projetuais e características intrinsecamente multidisciplinares, além de expertise técnica em comunicação visual. Esta pesquisa busca analisar os princípios metodológicos de projeto visual e o processo de produção das narrativas gráficas partir de pesquisa bibliográfica, fazendo uma análise etapa a etapa de metodologias selecionadas nas áreas de Design Generalista (MUNARI, 2008; BAXTER, 1995), Design Visual (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narrativas (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) e Narrativas Gráficas (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Utilizando bibliografia sobre projeto visual, imagem, linguagem visual, narrativas e narrativas gráficas como base para a construção de conhecimento teórico, as etapas são segmentadas em fases, utilizando como base as metodologias projetuais generalistas, mostrando que existem benefícios para os profissionais produtores de NG em utilizar as metodologias projetuais do Design Visual como linha projetual para a produção de HQ. / The sequential arts (AS) or graphic narratives (NG) are a modality of hybrid modality (multimodal) composed of image and word. Throughout its history, NG has faced several challenges in academia and in the market, and although it is a subject of complex multidisciplinarity, it has little research in the visual design field, that has ample knowledge in design methodologies and characteristics intrinsically multidisciplinary, as well as technical expertise in visual communication. This research seeks to analyze the methodological principles of visual design and the process of production of graphic narratives, making a step by step analysis of selected methodologies in the areas of General Design (MUNARI, 2008; BAXTER, 1995), Visual Design (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narratives (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) and Graphic Narratives (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Using bibliographic research on visual design, image, visual language, narratives and graphic narratives as the basis for the construction of theoretical knowledge, the steps are segmented in phases, using as base the generalist design methodologies, showing that there are benefits for the professional producers of NG to use the Visual Design methodologies as the design backbone for NG production.

As artes sequenciais (AS) ou narrativas gráficas (NG) são uma modalidade de expressão híbrida (multimodal) composta de texto imagem e texto palavra. Ao longo de toda sua história, as NG têm enfrentado diversos desafios na academia e no mercado, e, mesmo sendo um assunto de complexa multidisciplinaridade, é objeto de poucas pesquisas no design visual, que possui amplo conhecimento em metodologias projetuais e características intrinsecamente multidisciplinares, além de expertise técnica em comunicação visual. Esta pesquisa busca analisar os princípios metodológicos de projeto visual e o processo de produção das narrativas gráficas partir de pesquisa bibliográfica, fazendo uma análise etapa a etapa de metodologias selecionadas nas áreas de Design Generalista (MUNARI, 2008; BAXTER, 1995), Design Visual (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narrativas (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) e Narrativas Gráficas (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Utilizando bibliografia sobre projeto visual, imagem, linguagem visual, narrativas e narrativas gráficas como base para a construção de conhecimento teórico, as etapas são segmentadas em fases, utilizando como base as metodologias projetuais generalistas, mostrando que existem benefícios para os profissionais produtores de NG em utilizar as metodologias projetuais do Design Visual como linha projetual para a produção de HQ. / The sequential arts (AS) or graphic narratives (NG) are a modality of hybrid modality (multimodal) composed of image and word. Throughout its history, NG has faced several challenges in academia and in the market, and although it is a subject of complex multidisciplinarity, it has little research in the visual design field, that has ample knowledge in design methodologies and characteristics intrinsically multidisciplinary, as well as technical expertise in visual communication. This research seeks to analyze the methodological principles of visual design and the process of production of graphic narratives, making a step by step analysis of selected methodologies in the areas of General Design (MUNARI, 2008; BAXTER, 1995), Visual Design (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narratives (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) and Graphic Narratives (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Using bibliographic research on visual design, image, visual language, narratives and graphic narratives as the basis for the construction of theoretical knowledge, the steps are segmented in phases, using as base the generalist design methodologies, showing that there are benefits for the professional producers of NG to use the Visual Design methodologies as the design backbone for NG production.

As artes sequenciais (AS) ou narrativas gráficas (NG) são uma modalidade de expressão híbrida (multimodal) composta de texto imagem e texto palavra. Ao longo de toda sua história, as NG têm enfrentado diversos desafios na academia e no mercado, e, mesmo sendo um assunto de complexa multidisciplinaridade, é objeto de poucas pesquisas no design visual, que possui amplo conhecimento em metodologias projetuais e características intrinsecamente multidisciplinares, além de expertise técnica em comunicação visual. Esta pesquisa busca analisar os princípios metodológicos de projeto visual e o processo de produção das narrativas gráficas partir de pesquisa bibliográfica, fazendo uma análise etapa a etapa de metodologias selecionadas nas áreas de Design Generalista (MUNARI, 2008; BAXTER, 1995), Design Visual (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narrativas (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) e Narrativas Gráficas (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Utilizando bibliografia sobre projeto visual, imagem, linguagem visual, narrativas e narrativas gráficas como base para a construção de conhecimento teórico, as etapas são segmentadas em fases, utilizando como base as metodologias projetuais generalistas, mostrando que existem benefícios para os profissionais produtores de NG em utilizar as metodologias projetuais do Design Visual como linha projetual para a produção de HQ. / The sequential arts (AS) or graphic narratives (NG) are a modality of hybrid modality (multimodal) composed of image and word. Throughout its history, NG has faced several challenges in academia and in the market, and although it is a subject of complex multidisciplinarity, it has little research in the visual design field, that has ample knowledge in design methodologies and characteristics intrinsically multidisciplinary, as well as technical expertise in visual communication. This research seeks to analyze the methodological principles of visual design and the process of production of graphic narratives, making a step by step analysis of selected methodologies in the areas of General Design (MUNARI, 2008; BAXTER, 1995), Visual Design (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narratives (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) and Graphic Narratives (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Using bibliographic research on visual design, image, visual language, narratives and graphic narratives as the basis for the construction of theoretical knowledge, the steps are segmented in phases, using as base the generalist design methodologies, showing that there are benefits for the professional producers of NG to use the Visual Design methodologies as the design backbone for NG production.

No description available.

Though tabletop role-playing games, or TRPGs, have received some scholarly attention since the creation of Dungeons and Dragons in the 1970s, very few scholars have considered how TRPGs function as a vehicle for long-form narrative. As an inherently collaborative form of narrative, the TRPG demonstrates a unique relationship between author and audience, as participants take on both roles during play. Previous narratological models of author-audience interaction are insufficient to understand the way that authorship functions in the TRPG, and the rise of actual play shows, where TRPGs are broadcast for an audience of nonparticipants, adds an extra layer of complexity to these author-audience relations. This thesis identifies key narrative elements of the TRPG, including game mechanics, framing, and collaboration, and examines how popular actual play shows and their graphic adaptations engage with these elements to create their narratives. This examination indicates that TRPGs create complex author-webs where each participant is both author and audience, and this influence pushes actual play shows and further adaptations of TRPG narratives to expand the ways in which audiences can influence and interact with narratives as they are created. The TRPG genre continues to explore how these elements can be developed beyond traditional understandings of narrative, and this development provides a framework for further narratological study of interactive works, which will only continue to evolve and grow in popularity and complexity in the continuing digital era. / Master of Arts / The tabletop role-playing game, or TRPG, has been growing in popularity since the creation of Dungeons and Dragons in the 1970s, and the rise of the actual play show, where a TRPG game is broadcast to viewers via video or podcast, has spurred both casual and scholarly interest in the TRPG. Players of TRPGs create narratives through collaborative storytelling moderated by certain rules and game mechanics, so each participant in a TRPG acts as both author and audience, as they create certain elements of the narrative and also witness the narrative creations of the other players. This particular collaborative author-audience model is not seen in any other form of narrative, and existing models of author-audience interactions do not account for authorship in the TRPG. Therefore, this thesis examines how several elements of the TRPG, such as the use of game mechanics to structure the narrative, the multiple frames in which players interact with each other, and the collaboration inherent in every game, contribute to the ways that authorship and audience interact in the narrative. It also looks at how popular actual play shows and the graphic novels they've created of their narratives engage with these elements to create their own unique audience interactions. As audience participation in the development of the stories they're consuming become more prominent with the rise of video games and other interactive media, an understanding of the evolving relationship between authorship and audience developed by the TRPG becomes important for examining interactive works in general.

This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re-evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . . . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). My research finds that contemporary Canadian graphic narratives create mundane personal histories using a medium that is inherently attuned to exaggeration and fragmentation. My reading of graphic narrative is based on “autographics,” a recent field of scholarship that analyzes the interactions between visual and verbal forms of communication in works of life writing. I draw on visual rhetorical studies and communication design in order to describe “the distinctive technology and aesthetics of life narrative that emerges in comics” (Whitlock 965). The medium of comics playfully manipulates the discourses of documentary evidence and testimonial authority. At the same time, it gives Canadian authors tools for depicting the experiences of ordinary individuals through a rich collection of emotional, sensorial, and perceptual information. Focusing on the work of such authors as Chester Brown, David Collier, Julie Doucet, Sarah Leavitt, and Seth, I suggest that Canadian comics authors exploit the unique formal properties of the medium of comics in order to interrogate dominant nationalist discourses. They also develop an alternative method for analyzing narratives about the past.

This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re-evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . . . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). My research finds that contemporary Canadian graphic narratives create mundane personal histories using a medium that is inherently attuned to exaggeration and fragmentation. My reading of graphic narrative is based on “autographics,” a recent field of scholarship that analyzes the interactions between visual and verbal forms of communication in works of life writing. I draw on visual rhetorical studies and communication design in order to describe “the distinctive technology and aesthetics of life narrative that emerges in comics” (Whitlock 965). The medium of comics playfully manipulates the discourses of documentary evidence and testimonial authority. At the same time, it gives Canadian authors tools for depicting the experiences of ordinary individuals through a rich collection of emotional, sensorial, and perceptual information. Focusing on the work of such authors as Chester Brown, David Collier, Julie Doucet, Sarah Leavitt, and Seth, I suggest that Canadian comics authors exploit the unique formal properties of the medium of comics in order to interrogate dominant nationalist discourses. They also develop an alternative method for analyzing narratives about the past.

No description available.