The main premise of this chapter is a simple one: when we attribute moods or emotions to pictures, we are speaking metaphorically. There need not be anything metaphorical about attributing such properties to the subjects that are depicted in pictures. I begin by reviewing Elisabeth El Refaie’s application of Lawrence Barsalou’s theory of Perceptual Symbol Systems to visual metaphors in Craig Thompson’s Blankets, and then consider how individual marks prompt partial embodied simulations. Kendall Walton’s concept of prop-oriented make-believe is introduced to examine how an artwork’s principles of generation are brought to our attention. This focus highlights the social nature of engagement with works of art, which is developed by examining intersubjectivity in graphic and social relations in Robert and Aline Crumb’s Drawn Together. The last three sections develop the ways drawn marks guide our engagement with fictional worlds, exploring the effect of how they seem to have been made, and the role of perspective and projection systems on our attribution of expressive properties and ability to gain knowledge about the depicted world. Finally, Simon Grennan’s critique of Matt Madden’s ‘Exercises in Love’ is discussed in light of the analytical methods proposed in the preceding sections.