A Work By Team Robbo
Often referred to as graffiti, tagging, or more negatively as vandalism, street-art has been around for 40ish years as it was birthed in the 70 but only gained a real popularity in the mid-80’s. Recently documentaries such as “Exit through the gift shop” have brought attention to the subculture and personalities of street art. I find that not only is this art and interesting visual style, but it is an important demonstration of the power in blending pictures, text and color into one piece. The piece by Team Robbo, is in the style of more traditional graffiti, whereas the piece by Banksy is what some consider to be “post-graffiti”. I argue that the same goal is intended for each piece though how it is achieved varies greatly. For both of these pieces, the main choice is typography. In the Team Robbo piece, each letter becomes onto itself an image - and in some cases can be replaced by images as seen here. This is reminiscent of the heavily stylized lettering that would begin each chapter in old books. To those that follow styles like Team Robbo’s, the execution of this text; including color, shape, and its relationship to other letters and the backing, it’s execution and even the choice of placement all add together to build up the “street cred” of the piece and author.
A Work By Bansky
 In Banksy’s piece the use of a simple typeface reinforces the message by linking it to other simple graffiti that carries social motivation. The sparse use of colors is typical of a Banksy piece, but the red lettering on a white background and placed next to a black rat causes the words to really stand out and draw attention. But how do these very differing styles of typography align? Simply put, both of these pieces have been shaped by decisions to draw a large audience, one to build street cred, the other to spread the message. While the Team Robbo does this through a large, colorful, and eye-catching style, Banksy takes a simpler approach and uses two colors to the same effect.
Just as an aside, they once even had a graffiti-off as they fought over the same piece of wall. The progression pictures area great demonstration of how though style differs the message and drive can be the same 
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In class, we discussed Scott McCloud's "Understanding Comics," which is really the seminal work in well, understanding comics.  McCloud discusses just about every, and any aspect of comics that can be conceived, and our discussion on 'gutters' was interesting, as I hadn't read "Understanding Comics" in some ten years.

As an avid comics fan (buff?), I had always been told that Neal Adams was one of the genre-defining comics-book artists of his day (which happened to precede me by some 15 years).  As you can see in the examples to the right, his use of panel arrangement was completely "outside-the-box," to coin a phrase that came up in class.  That is not the interesting part, however.

What is interesting about the two examples presented here is that they do not conform to the most-often-used transition cited by McCloud, the "Action-to-Action."  Instead, these particular panels, and their arrangement, necessitate a "Moment-to-Moment" reading.  This is interesting, because there is no shortage of action in these panels.  And in McCloud's admittedly small sampling of Western comics, "Action-to-Action" panels dominate.

There is an underlying philosophy in the way stories are told, which is probably all the more exacerbated by the comics medium (65% "Action-to-Action!"), and it is the concept of agency.  McCloud touches on this a little bit in his book, but I prefer Lera Boroditsky's thought that Western (particularly American) readers are much more likely to "assign agency" when describing events.  "John hit Bob," as opposed to "Bob was hit by John."  Or "David broke the glass," as opposed to "the glass was broken." This way of constructing narratives and describing events comes out in our visual language as well, and those artists who break free of that paradigm (like Neal Adams) are to be commended.
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