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WHY DO
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 A thesis presented in partial fulfillment for the degree Master of Fine Arts in Graphic De-
sign in the Department of Graphic Design of Vermont College of Fine Arts, Montpelier,

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Vermont.

Y D O I 
WH
Written and designed by: Carl Julien, 2016

N E
Approved by Master’s Examination Committee:

-A - TO
ZIP Ziddi Msangi — 1st Semester Advisor Dave Peacock — 2nd Semester Advisor

PATTERNS in COMICS, DESIGN

and LIFE
CARL JULIEN
Ian Lynam — 3rd Semester Advisor Silas Munro — 4th Semester Advisor

©2016
 Page 7

Comic book
ISSUES
Issue One—Thesis Abstraction /Introduction
Issue Two—Comic Book History
Issue Three—Pattern Making & Collage Work
Issue Four—Collected Collage Projects
Issue Five—Conclusion; My acceptance of
Graphic Design
1
Chapter 1
Introduction:
How comics have influenced my design
Education is what survives when what has been learned has been
forgotten. — B. F. Skinner
This thesis will attempt to ask if there is
a space for minorities of various types
in the traditional sphere of comics and
graphic design. Additionally, can these
images open up comic-based image
making to represent a more­multi-
cultural view of the world? It is my intent
in this thesis to explore meaning that
could be derived from using comics as
a vehicle in graphic design and how
that affects the images meaning. I have
made use patterns that will involve more
complex geometric arrangements than
that of the square panels traditionally
found in sequential art.
Page 9
What’s more, these geometric patterns
have been used to change, modify, or
enhance the meaning of the collage
work. The Collage work was created using
digital techniques and traditional cut
and paste pieces that utillized comic
book art work as its primary component.
Through collages that use pattern based
ornamentation I intend to explore
relationship pattern has to meaning. The
patterns however will be a vehicle to talk
about race and class in America. With
these patterns I will further examine there
relationship in graphic design as well as
in sequential art. Furthermore, I intend to
show how patterns can be used by artists
and designers to communicate effectively
with their audience. If an audience can
recognize a pattern then the relation
between patterns and the things to which
they refer becomes apparent
To ensure that the work is fresh and
innovative, the collage will be made using
Page 10
self-generated artwork, excluding any experience”3. In other words there is
preexisting public domain images. a considerable difference between the
archetype and the historic realty of the
Maybe my love of comics and the situation from which the archetypes
superheroes that dominate them comes evolved. Essentially, archetypes like
from the fact that comics are a modern stereotypes are an abstraction of reality
version of mythology. According to not reality itself. However, usually
Joseph Campbell, the prime function of these archetypes follow a pattern that
mythology is to carry the human spirit is discernible. Initially archetypes
forward as it manifest in dreams and visions which
passes on to adulthood1. Myth and are more obtuse, and less realized than
fairytale2 are some of most well-known the myths that comprise them. The
expressions of the archetypes,and couscous mind seeks order from chaos
are forms that have been handed and imposes patterns and meaning to
down through long periods of time. the indecipherable, thus creating tropes
According to Jung, “the term “archetype” that are universal in understanding.
thus applies only indirectly to the These symbols that appear directly in
“representations collectives,” since it our dreams prove that there is a power
designates only those psychic contents in using our active imagination and
which have not yet been submitted to according to Jung has “a sort of magical
conscious elaboration and are therefore effect4”, that has the ability alter and
an immediate datum of psychic extended the unconscious mind.
Historically, mythology was traditionally
1 Campbell, Joseph. The Hero with a Thousand Faces. Second ed. Princeton,
used not just as means to transition
N.J.: Princeton University Press, 1972. to adulthood but as a vehicle to
2 Robertson, Robin. 1987. C.G. Jung and the archetypes of the collective uncon- 3 Ibid
scious. New York: P. Lang. 4 Ibid
Page 11
learn the responsibilities that adults Anyone who is interested in crafting
must shoulder in the community5. stories should have an interest in
Unfortunately, modern western society archetypes. While they have a lot in
no longer has an official initiation common with stereotypes, archetypes
ceremony. Mythology often tells the story are thought of in a more positive light.
of heroes who bring back a boon for all Archetypes can make for dynamic
mankind6. This award is usually brought characterization7. According to Jungian
back after many trials, tribulations psychology, archetypes provide the
and adventures in a dangerous world. blueprints for understanding the
Universal such as Mohammed (saw) Jesus personalities of others.
(as) and the Buddha (as) heroes acquire Jungians classify archetypes as various
a macrocosmic triumph and bring back Greek gods and goddess; Schmidt goes
a message for the entire world. The one step further and adds a new class
comic stories that I most enjoy work on of archetype-the Messiah describes the
the universal level, with heroes such as spiritually based characters in fiction.
Superman, the Fantastic Four, and the Jung and Schmidt agree that archetypes
Avengers saving not just the world but are not oversimplified like stereotypes.
sometimes creation itself. This is probably For example, a stereotypical teacher
also why I find comfort in religion-the may bring a certain image to mind but
stories of right and wrong, of justice and what motivates him? If our teacher
redemption, and of religious heroes help saw a burning building would he rush
me find my way morally in a troubled in to save lives or stand back and wait
world. for the fire department? According to
7 Schmidt, Victoria. 45 Master Characters: Mythic
5 Campbell, Joseph. The Hero with a Thousand Faces. Second ed. Princeton, Models for Creating Original Characters. 2nd ed. Cincinnati, Ohio:
N.J.: Princeton University Press, 1972. Writer’s Digest Books, 2012.
6 Ibid
Page 12 Page 13

Schmidt, archetypes help us ask questions important additionally, the desires of information. If one sees the graphic is only dysfunctional when people face
about the characters we create; are they your archetype will filter out within icon for “do not walk” then members of oppression as a consequence of a lack of
introverted, or extroverted; are they the dialog. western culture understand immediately privileges.
satisfied with the status quo or do they According to D. B. Dowd “Graphic history “don’t walk here.” Such graphic icons are
want to change the world? With this type is littered with singularities. Unlike art stereotypes symbolizing something in
of analysis, you can help your characters history. which has been laboriously shorthand so that the mind can devote
grow in new ways. In a way, examining constructed by philosophically minded necessary resources elsewhere.
and defining an archetype is a way to big thinkers, the popular arts lack a Understanding the patterns found in
break the mold of the stereotypes. unified tale. As a partial, unsatisfactory archetypes will help me understand
answer to this problem, each family the space that has been reserved for
Once an archetype is established for in the graphic phylum -printmaking, minorities in comics and graphic design.
your character one must be consistent caricature, illustration, comics, animation
There archetypes that the mainstream
to increase the characters believability. - has cobbled together an insular history
Ares, the protector, would have issues in before its own isolated hearth8”. I wonder culture has assigned to minorities
a room full of children. He may deal with if that is why I have an affinity for design. are often without minority input. The
that situation as if he were in a military I have always loved the “insular history” collages made for this thesis will explore
school. Showing that conflict and how the of comics and animation with their and hopefully challenge these archetypes
protector resolves it makes for interesting strong senses of graphics that represent using the patterns found in sequential art.
and compelling storytelling. According abstractions of real life. This sense of Ultimately it is not the physical patterns
to Schmidt, one must not allow the abstraction seems to be shared in my of the comics or fractals that interest me
archetype to dictate mind with graphic design as well. One
the plot. Just because Hera, the matriarch can see this graphic abstraction in the as much the social pattens of exclusion
cares deeply about marriage should and privilege and how they affect
use of simple Icons that convey so much society as a whole. Everyone has some
not compel you to write a matrimonial
story if Hera is used as a basis for 8 Dowd, Douglas Bevan, and M. Todd Hignite. 2006. privilege and on some level everyone is
characterization. Whatever the demands Strips, toons, and bluesies: essays in comics and culture. New York: excluded from different experiences. It
Princeton Architectural Press.
the plot makes in the story is most