Calm/Rage/Temper-A-Mental

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Many years ago, in Mr. Richmond’s Senior English class at Glendale High School, I wrote an essay in which I admitted knowing almost nothing about the subject. Milnor Richmond, in his profound wisdom, circled the admission in red and wrote “Don’t admit it.” I have never forgotten that…

…but I haven’t always taken his advice, literally, literarily, or figuratively. About this page I wish to admit that it has serious flaws. It doesn’t say all that much; what it has to say is confusing; and the face that is supposed to represent Rage doesn’t: it just looks like a guy about to sneeze.

All that said, I don’t think the page is a waste of time to look at. As another wise teacher, Darlene Goto, former Drawing & Composition instructor at Glendale Community College, would often say to a student, “It has possibilities.” I am creatively arrogant enough to say that if I ever take a decent amount of time to realize the page’s possibilities, I’ll have a text/image for the ages. (Now I hear Mr. Richmond’s gravelly voice saying, “Don’t declaim it.”)

Hear are the words to the two acrostics:

Cold fury’s touch will sear
A blast of HATE is near–a
Lunatic–don’t beg
Methinks Fate will renege

Thoughtful speculators dream
Essays to assay a meme
Many wingbeats tax a swan
Pray consult a clairvoyant [French pronunciation, not American]
End with panicked dash, mach schnell–a
Runaround leaves us unwell

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1 comment
  1. Hi Gary,

    According to my drawing bible: Making comics, by Scott McCloud, the facial features of the gentleman to the right are closer to revulsion than to anger. It would seem that when you are angry, you keep your eyes open, but when you are disgusted you tend to close them. The forehead muscles are also less scrunched up. The book has a fascinating section on the muscles in the face and how we use them.

    I’ve taken the liberty of doing a test of this, the results are here: http://bit.ly/13SNMtO
    What do you think ? And do tell me if you find this intervention annoying.

    I really like the typography of the long A.

    Michel L

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