Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia

Research Article

Visual Patterns in Webcomic the Beauty of Angel

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  • @INPROCEEDINGS{10.4108/eai.2-11-2019.2294774,
        author={Dini  Faisal and Hendra  Afriwan and Utami Dewi Pramesti and San  Ahdi},
        title={Visual Patterns in Webcomic the Beauty of Angel},
        proceedings={Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019,  2 November 2019, Surakarta, Central Java, Indonesia},
        publisher={EAI},
        proceedings_a={CONVASH},
        year={2020},
        month={8},
        keywords={webcomic visual pattern the secret of angel},
        doi={10.4108/eai.2-11-2019.2294774}
    }
    
  • Dini Faisal
    Hendra Afriwan
    Utami Dewi Pramesti
    San Ahdi
    Year: 2020
    Visual Patterns in Webcomic the Beauty of Angel
    CONVASH
    EAI
    DOI: 10.4108/eai.2-11-2019.2294774
Dini Faisal1,*, Hendra Afriwan1, Utami Dewi Pramesti2, San Ahdi1
  • 1: Desain Komunikasi Visual, Universitas Negeri Padang, Indonesia
  • 2: Pendidikan Bahasa Indonesia, Universitas Negeri Padang, Indonesia
*Contact email: dinifaisal@fbs.unp.ac.id

Abstract

Webcomic has become subculture within comic medium. It still has the same visual elements with printed comic but has its own set of rules and presentation which contrasted from printed comic. South Korean webcomics, famously known as webtoon, are more adapt to digital and online media characteristic. It is show in the way they explore webcomic’s vertical infinite canvas. However, each webcomic is unique and has its artist’s idiolect. This paper breaks down visual patterns of a webcomic entitled “The Secret of Angel” (TSoA) in order to see the artist’s idiolect, the way it exploits infinite canvas and how it stands out. Method use is qualitative descriptive, with 6 episodes of TSoA as samples. Findings indicate that TSoA is adapt to media convergence and the use of vertical infinite canvas and its latest episodes has shown maturity in using the verticality. However, TSoA still maintain its own artist’s idiolect such as no speech balloons are inside panels, and longer and wider gutter.