The picturebook, according to Moebius, is seen more and more to require an integral relationship between ( ) and ( ), a 'total design'".
Moebius writes that "the presented word" may also bear of the marks of "presented worlds". The term that encompasses these references or allusions to other works is....
(Things in real life shown in books)
Gates, doors, windows, stairs
Moebisu also suggest that "the frequent depiction" of ( ) is "not accidental or fortuitous" but "downright basic to the symbolic force of the story.
What position on the page "may be an indication of an ecstatic condition...or dream vision..or mark of social status or power, or of a positive self-image"
In Moebius's code of " " The more frequently the same character is depicted on the page, the less likely that character is to be in control of the situation.
(Words, position, and other codes help)
According to Meobius, a character shown of the ( ) page is "likely to be in a more secure, albeit potentially confined space than one shown on the ( ), who is likely to be moving into a situation of risk or adventure"
In the codes of Perspective, "the sudden absence of a horizon" is likely to mean....
(Zoom in effect)
"A character framed in a series of circular enclosures in more likely to be ( ) and ( ) than one framed in a series of utterly ( ) objects"
Mobility,speed paralysis squiggles or bundles vitality energy
"Thin, spare line may suggest ( ) thick, blurred, or puffy lines, ( ). .
What Moebius calls the code of Capillarity "refers to the presence of absence of ( ) or ( ); an abundance of suck marks often signals ( ) or even a surfeit of ( )
As Moebius acknowledges, we associate certain feelings with certain colors ("bright colours with exhilaration and discovery." and "dark colours with disappointment and confusion"); in addition, we need to be especially aware" of colour as ( ) among different objects"
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