(Background tile by Zebiii)
Here is an excellent documentary about french author JC Mezières and the way he draws an entire page of his famous comic “Valérian & Laureline, agents spatio-temporels" (starting at the day he recieves the script of the page from his writer P. Christin). Unfortunately it’s entirely in french. But it’s comforting in a way to see this great and very experimented artist expressing his doubts about his art, like any beginner. It’s also very interesting to learn why he chooses to redraw an entire big panel because the first version didn’t work.
orpheelin: Spread the word :D
When there are an illustrator + scenarist, that means they have to share the 1.6$. So they earn (or repay) 0.8$ each for a 20$ book. :/
*full size of the picture*
Comic about slurs, published in the Galago magazine last summer.
Storytelling and art can’t be separated in comics. There’s no other way to know what’s going on. If you’ve read a great story that’s not just down to the writer, the artist is equally responsible for telling that story through the visuals. It’s that simple. Art in comics doesn’t equal pretty pictures, it equals storytelling.
- Gabriel Hardman
This is it. The art is the story. It’s that simple.
Transperceneige / Snowpiercer exhibition, Angouleme 2014 comicsfestival.
Jean-Marc Rochette works about his comic Le Transperceneige and for Bong Joon-Ho’s movie Snowpiercer.
(sorry again for the bad images, there were so many reflected lights the photos were very hard to take >_<)
“Fleurs qui ne se fanent pas" (flowers that don’t fade)
Exhibition at Angouleme’s international comics festival, 2014, about the Korean women abducted and raped by Japanese soldiers during the war.
This exhibition was AMAZING. I was blown away by the beauty and quality of the pages, and the incredible diversity of the choices the artists made to talk about those tragic events and testimonies. In the last room there was a wall covered with little messages left by the visitors, in many different languages, to support the victims of the war.
I left it with tears in my eyes but I was also extremely impressed by the authors’ talents: Jeong Ki-young, Kim Gwang-sung, Tak Young-ho, Lee Hyun-se, Baek Sung-min, Park Jae-dong, Cho Kwan-je, Oh Sé-young, Ahn Soo-cheol, Kang Hyo-suk, Kang Do-ha, Park Kun-woong, Keum Suk Gendry-Kim. (Sorry for the bad photos.)
Guido Buzzelli's “HP” exhibition
Angouleme 2014 comicsfestival, CIBDI.
Buzzelli was the best at drawing horses. ;3;
Made for gifs, really.
A study in panel borders:
Inspired by this awesome post about making comics quickly, I took a look at some comics I own to get some sense of different kinds of panel design choices.
I came away feeling like I’d learned a little less than I’d hoped, but here are some takeaways:
* You can get away with smaller panels than you think
* Extremely weird comic panels CAN work, but when it fails it looks painful and forced.
* Simple is not bad.
* There are actually a LOT of possible combinations.
Scott McCloud uses a 4x3 sliceup of the page, and it’s four VERTICAL slices and three HORIZONTAL ones, which is weird because it makes the panels, on average, LESS square. This works with the particular comic really WELL though, because he draws himself in closeup, talking, a LOT.
DAR and Narbonic both are webcomics mashed into book format, but both worked surprisingly well as page layout in the end.
Blacksad is REALLY variable and the page layouts are hand-crafted on a per-page basis. No speed gains here, but perhaps a message that full custom has its place.
The Resonator is fairly formal but never *too* rigid with panel choices. Lots of narrow or tall panels, which works as a way to alternate between big establishing shots and dense dialog. Very tall panels for single speaker, long ones for two-person dialog or to combine a lot of text and visuals. In general, Resonator is print-native and has TINY text…
Ultimate X-Men is a fun read but the panel design is a disaster. Almost none of the choices of graphic design work at all. Occasionally an establishing shot hits home, but in general the layout is trying WAY too hard.
Watchmen. Formalism raised to the ultimate. It’s precise, it’s a 3x3 grid, it’s piss-on-a-plate-with-no-spills precise and that’s fine, for two reasons: one, everything is about time, and two, it gets the panels the hell out of the way of the story.
Augustus is an example of what Ultimate X-Men was trying to do, except it succeeds. Lots of variation, but on average very orderly. Kind of strikes me as the sort of thing you “have to be GOOD” to pull off well.
Paneling to me is the most iconic element that is wholly unique to comics. The art of it endlessly fascinates me. Cool to see this stuff.
I can never go to the conventions especially all the parisian ones everybody talks about… so I’m happy when beloved artists make online sales. Those are from the very talented Moemai and Sano, thank you so much ladies for your wonderful works! *3*
There are many comics/artbooks I want to buy / cool kickstarters / artists I want to support and I’m totally frustrated because I’m so broke right now… ;o;