'Gorky and Izzy's Trip to Mexico' is the project I completed for my Master's of Illustration thesis at the University of Hertfordshire. The thesis recieved a distiction. I am showing the below preview while I revise the comic for future publishing. ProcessFor my thesis I created ‘Gorky and Izzy’s Trip to Mexico’, a digital comic in line with current technology and attributes that go beyond current technological limits. The comic was made as a submission for online sale on ComiXology in two parts: -A PDF document of each still, in line with the ComiXology Submission Guidelines and current technology, annotated with notes for incorporation into Guided View™ -An online preview showing how the comic will function in Guided View™ along with animated attributes not yet possible in Guided View™ - In the comic I challenged the limits of what is a comic by including atmospheric, looping animations. Apps and ReadersI began my project by researching the different methods of distribution for digital comics. Comic reader applications for mobile technology interested me due to their functioning business models. I decided to base my project on submission to ComiXology because they are the most successful comic app and their Guided View™ software is so far the most developed. The reproduction of print comics for digital has been clunky mainly due to the fact that large portrait pages do not fit small landscape screens. Guided View™ was an attempt to solve this issue by using small animations to guide the reader through the comic. This inadvertently created an opportunity for artists to create comics solely for the application with new forms of panel transitions. Market and Audience
ScriptI worked from a script that was made for or at least adapted by someone else for a comic book. Adapting a narrative myself would create too many variables that I would need to consider and research in my studies. I posted adverts on a number of websites seeking a writer with a finished or close to finished script that was willing to collaborate. I received a wide range of replies - not all as professional as others. My requirements were quite limited to begin with. Mainly I was looking for a clear, professionally written narrative that was close to complete. As I developed my research I started considering the uniqueness of characters, settings and how I would be able to visually depict them. When I understood what I wanted to accomplish in my final product I was able to consider if I could present the story in Guided View™ and animate small parts of it. I decided on the script 'Gorky and Izzy's Trip to Mexico' by F. E. Rahman because of the emphasis on inter relations between characters which I believe is more suitable for my target audience. Rahman and I met to discuss how we could work together on the project. Rahman saw and accepted my proposal. We agreed that I would do all of the illustration, lettering and layout for this script while presenting my work to Rahman and seeking feedback. We were both comfortable with collaboration and making suggestions, but respected other's disciplines and contribution to the comic. Visual Style
Visual Style – Camera AnglesI used a number of extreme camera angles in my story telling. I referred to the comics I had researched, film noir and ‘Setting Up Your Shots: Great Camera Moves Every Filmmaker Should Know’ – a guide by Jeremy Vineyard. In order to make the characters appear small, vulnerable and lonesome I used a number of high camera angles looking down on them. I also skewed my compositions using ‘Dutch tilts’ to create diagonal and uneasy lines. Diagonal and non horizontal lines were preferred by the German expressionists that informed the classical noir films (Schrader 1972). During moments of extreme emotions I used much tighter angles, sometimes completely isolating my figures from their settings. Traditional American comic book styles of composition during dialogue still informed my work, but I tried to break away from them in, using the style that best expressed the moment. Comic Research
MovementA considerable amount of my research was spent on understanding the boundary of movement in comics. Through the arguments of Groensteen, Goodbrey, McCloud and Cohn I concluded that atmospheric, looping animation was acceptable. Akira Kurosawa, often referred to as ‘the master of movement’, informed how I applied movement within comic panels. He frequently uses weather to accentuate the emotions of the characters he portrays. I extended this idea to use the movement of the city to contrast the stillness of the characters and further alienate them. I researched film for similar atmospheric movements to the ones I wanted to portray. This helped influence my presentation and for me to understand the timing of the movement. I found the film 'Koyaanisqatsi' very helpful. Character Design
Dissecting the ScriptI started composing my panels by sketching as many options as I could think in sketchbooks and in the margins of the script. From there I started composing screens of panels. My main concern was creating a hierarchy of the different moments in the narrative and displaying that through the size and orientation of the panels. I considered compositional methods such as beginning with establishing shots and using a series of aspect to aspect panels. Block-Ins
Texture and Lettering
Final ProductMy final work was finished according to the submission guidelines of ComiXology. My lettering was done with professional fonts from www.blambot.com. The screen ratio, size and font size I used were based off of my research of industry examples of digital comics. I choose cover artwork that would create more questions than it would answer. I also used artwork from the comic because I am always disappointed when comic art does not live up to its cover. I attempted to frame the narrative by using the same shot for beginning and end. BibliographyBooks
• Benton, M. 1993. The Illustrated History: Crime Comics. Texas: Taylor Publishing Company • Cohn, N. 2013. The Visual Language of Comics. London: Bloomsbury Academic. • Goulart, R. 1988. The Dime Detectives. New York: The Mysterious Press • Groensteen, T. 2007. The System of Comics. University Press of Mississippi • Groensteen, T. 2013. Comics and Narration. University Press of Mississippi • Mayer, G. and McDonnall, B. eds. 2007. Encyclopaedia of Film Noir. Westport: Greenwood Press • McCloud, S. 1993. Understanding Comics: The Invisible Art. New York: Harper Collins • McCloud, S. 2000. Reinventing Comics: How Imagination and Technology are Revolutionising an Art Form. Canada: Harper Collins • McCloud, S. 2006. Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels. New York: Harper Collins • Vineyard, J. 2008. Setting Up Your Shots: Great Camera Moves Every Filmmaker Should Know. California: Michael Wiese Productions.Books Articles • Banjeree, S. 2014. Alan Moore leading digital comics to open-source future. [Online]. [Accessed 19 August 2015]. Available from: http://www.theguardian.com/books/2014/jun/06/alan-moore-digital-comics-open-source-electricomics-app • Borde, R. and Chaumeton, E. 1955. Towards a Definition of Film Noir. [Online]. [Accessed 19 August 2015]. Available from: http://intelligentagent.com/noir/Borde_Chaumeton.pdf • Cohn. N. 2010. The limits of time and transitions: Challenges to theories of sequential image comprehension. [Online]. [Accessed 19 August 2015]. Available from: http://www.visuallanguagelab.com/P/NC_Time&Transitions.pdf • Comic Book Resources. 2012. Get "The Walking Dead" Vol. 1 Free at the ComiXology Booth During WonderCon 2012. [Online].[31/12/2014]. Available from: http://www.comicbookresources.com/?page=article&id=37489 •comiXology. 2014. What is comiXology's Guided View™ technology?. [Online].[31/12/2014] Available from: http://support.comixology.com/customer/portal/articles/768035-what-is-comixology-s-guided-view%E2%84%A2-technology- • Flamm, M. 2013. 'iTunes of comics' passes 200M downloads. [Online].[31/12/2014]. Available from: http://www.crainsnewyork.com/article/20130925/NEWS/130929937 • Flanagan, J. 2012. MARVEL COMIXOLOGY IPAD APP REVEALED. [Online].[31/12/2014]. Available from: http://ifanboy.com/articles/marvel-comixology-ipad-app-revealed/ • MComix. 2014. MComic. [Online].[31/12/2014]. Available from: http://sourceforge.net/p/mcomix/wiki/Home/ • Hatfield, D. 2012. ComiXology Reveals New Hi-Res CMX-HD Format. [Online].[31/12/2014]. Available from: http://geek-news.mtv.com/2012/03/20/comixology-reveals-cmx-hd-format/ • Gazzard, A. and French M. 2013. Maps of Time : exploring the rhythms of a mediated world. [Online]. [Accessed 19 August 2015]. Available from: http://ses.library.usyd.edu.au//bitstream/2123/9680/1/mapstimeexploring.pdf • Gazzard, A. and Goodbrey, D. 2014. Electricomics: Digital pages and rhythms of reading. [Online]. [Accessed 19 August 2015]. Available from: http://electricomics.net/2014/07/digital-pages/ • Goodbrey, D. 2013. Images In Space The Challenges Of Architectural Spatiality In Comics. [Online]. [Accessed 19 August 2015]. Available from: http://www.inter-disciplinary.net/at-the-interface/wp-content/uploads/2013/07/dmGoodbrey-wpaper-gn2.pdf • Goodbrey, D. 2013. From Comic To Hypercomic. [Online]. [Accessed 19 August 2015]. Available from: http://www.inter-disciplinary.net/at-the-interface/wp-content/uploads/2012/09/danielgoodbrey_finalpaper.pdf • Groensteen, Thierry (2012) [Originally published in French in 1999]. "The Impossible Definition". In Heer, Jeet; Worcester, Kent. A Comics Studies Reader. translated by Bart Beaty. Jackson: University Press of Mississippi. pp. 124–131. • Groensteen, T. 2012. [Originally published in French in 2000]. "Why Are Comics Still in Seach of Cultural Legitimization". In Heer, Jeet; Worcester, Kent. A Comics Studies Reader. translated by Shirley Smolderen. Museum Tusculanum Press. pp. 29-41. • Gustines, G, G. 2012. In New Digital Comics, Every Tap Holds A Surprise. [Online].[31/12/2014]. Available from: http://www.nytimes.com/2012/05/31/technology/personaltech/in-new-digital-comic-books-every-click-brings-a-surprise.html?smid=tw-share&_r=0 • Harbaugh, R. Khemka, R. 2001. Does copyright enforcement encourage piracy? [Online]. [Accessed on 10 January 2015]. Available from: http://www.bus.indiana.edu/Faculty/BEPP/riharbau/publications/piracy.pdf • Hauman, G. 2011. Yet Another Reason For Comics To Go Digital: 40 Is The New 15. [Online]. [31/12/2014]. Available from: http://www.comicmix.com/2011/06/08/yet-another-reason-for-comics-to-go-digital-40-is-the-new-15/ • ICV2. 2014. Digital Comics Sales Grow to $90 Million In 2013. [Online].[31/12/2014]. Available from: http://www.icv2.com/articles/news/29068.html • McGarry, C. 2013. Good news, dudes: Ladies read comics, too. [Online].[31/12/2014]. Available from: http://www.techhive.com/article/2053313/good-news-dudes-ladies-read-comics-too.html • Kraft, A. 2013. ComiXology: The Changing Face of Comic Book Readers. [Online].[31/12/2014]. Available from: http://geekmom.com/2013/10/comixology-comic-book-readers/ • Schrader, P. 1972. Notes on Film Noir. [Online]. [Accessed 19 August 2015]. Available from: http://www.f.waseda.jp/norm/filmnoir/schroder.PDF • Singleton, S. 2007. Copy protection and games: Lessons for DRM debates and development. [Online] Progress & Freedom Foundation Progress on Point Paper No 14. [Accessed on 10 January 2015]. Available from: http://www.convergencelaw.com/aboutus/images/Link_for_Solveig_Singleton%27s_Resume_1_%2800186776%29.PDF • Stenros, J. Sotamaa, O. 2009. Commoditization of helping players play: Rise of the service paradigm. [Online] Proceedings of DiGRA. [Accessed on 10 January 2015]. Available from: http://www.digra.org/wp-content/uploads/digital-library/09287.24201.pdf Print Comics • Abuli, S. and Bernet, J. 2012. Torpedo Volume One. California: IDW Printing • Allan Collins, M. and Locher, D. 1990. The Dick Tracy Casebook: Favourite Adventures 1931-1990. London: The Penguin Group • Azzarello, B. and Risso, E. 1999. 100 Bullets Volume 1: First Shot, Last Call. USA: DC Comics • Azzarello, B. and Risso, E. 2012. Batman Noir. New York: DC Comics • Brubaker, E. and Phillips, S. 2007. Coward: A Criminal. Lithuania: Titan Books • Brubaker, E., Rucka, G. and Lark, M. 2008. Gotham Central Book One: In The Line of Duty. USA: DC Comics • Church, K. and Kirsch, T.J. 2014. She Died In Terrebonne: A Sam Kimimura Mystery. New York: Agreeable Comics • Diggle, A. and Ibanez, V. 2010. Rat Catcher. New York: DC Comics • Layman, J. Guillory, R. 2013. Chew Volume 1: Taster's Choice. California: Image Comics • Miller, F. 2005. Sin City Volume 1: The Hard Goodbye. Oregon: Dark Horse Books • Madden, M. 2007. 99 Ways to Tell a Story: Exercises in Style. London: Random House • Stark, R. and Cooke, D. 2012. Parker 1: The Hunter. California: IDW Publishing • Starr, J. and Bertilorenzi, M. 2009. The Chill. New York: DC Comics Digital Comics • Blanch, C. Carr, C. Chee. 2013. The Damnation of Charlie Wormwood, Chapter 1. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/the-damnation-of-charlie-wormwood/the-damnation-of-charlie-wormwood-chapter-1/#1 • Bernstein, J. Dorman, M. 2014. Santa Claus: Private Eye, Chapter 1. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/santa/santa-claus-private-eye-chapter-1/#1 • De Campi, A. Larsen, C. 2013. Valentine the Comic, Volume 1, Chapter1. [Online]. [Accessed on 10 January 2015]. Available from: http://thrillbent.com/comics/valentine/valentine-season-1-chapter-1/#1 • Garza, C. 2001. archive. [Online]. [Accessed 19 August 2015]. Available from: http://www.magicinkwell.com/archive.html • Gibson, T. 2014. Moth City. [Online]. [Accessed on 10 January 2015]. Available from: http://www.mothcity.com/ • Kesel, K. Randall, R. 2013. City of the Dead, Chapter 1. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/city-of-the-dead/city-of-the-dead-chapter-1/#1 • Mast. Geoffo. 2012. Pax Arena, Chapter 1. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/pax-arena/pax-arena-chapter-1/#1 • Waid, M. Kitson, B. 2000. Empire, Volume 1, Chapter 0. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/empire/empire-volume-1-chapter-0/#1 • Waid, M. Krause, P. 2013. Insufferable, Volume 1, Chapter 1. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/insufferable/insufferable-volume-1-chapter-1/#1 Film • Akira. 1988. [Film]. Katsuhiro Otomo. dir. Japan: Tokyo Movie Shinsha • The Asphalt Jungle. 1950. [Film]. John Huston. dir. USA: Metro-Goldwyn-Mayer • The Black Dahlia. 2006. [Film]. Brian De Palma. dir. USA: Universal Pictures • Dr. Mabuse the Gamble. 1922. [Film]. Fritz Lang. dir. Weimar Republic: (company unknown) • Kagemusha. 1980. [Film]. Akira Kurosawa. dir. Japan: Toho Studios • Koyaanisqatsi. 1982. [Film]. Godfrey Reggio. dir. USA: Institute for Regional Education • L.A. Confidential. 1997. [Film]. Curtis Hanson. dir. USA: Warner Bros • The Maltese Falcon. 1941. [Film]. John Huston. dir. USA: Warner Bros • Princess Mononoke. 1997. [Film]. Hayao Miyazaki. dir. Japan: Studio Ghibli • Rashomon. 1950. [Film]. Akira Kurosawa. dir. Japan: Daiei Film Co., Ltd. • Seven Samurai. 1954. [Film]. Akira Kurosawa. dir. Japan: Toho Studios • Sin City. 2005. [Film]. Frank Miller, Robert Rodriguez and Quentin Tarantino. dir. USA: Troublemaker Studios • Sleeping Beauty. 1959. Clyde Geronimi , Les Clark, Eric Larson and Wolfgang Reitherma. dir. USA: Walt Disney Productions • Throne of Blood. 1957. [Film]. Akira Kurosawa. dir. Japan: Toho Studios • Yojimbo. 1961. [Film]. Akira Kurosawa. dir. Japan: Toho Studios Video • The Comic Archive. 2010. Joe Kubert Talks Digital Comics. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=N2Jurc5HwrA • Every Frame A Painting. 2015. Akira Kurosawa - Composing Movement. [Online]. [Accessed 19 August 2015] Available from: https://www.youtube.com/watch?v=doaQC-S8de8 • Fantom Headquarters. 2014. Neil Cohn. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=8YpYseoQRok Neil Cohn • GeekExchange. 2012. Mark Waid Q&A on Thrillbent and Creating Comics. [Online]. [Accessed on 19 April 2015]. Available from: https://www.youtube.com/watch?v=tAIATk9IU5U 2012 • KUT Austin. 2012. Comic Books and the Digital Divide. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=D8kELrpDDNU • Neil Cohn. 2014. The grammar of comics in the brain. [Online]. [Accessed on 19 April 2015]. Available from: https://www.youtube.com/watch?v=dU7c9euTso4 • O'Reilly. 2013. Mark Waid on Reinventing Comics and Graphic Novels for Digital - TOC 2013. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=vPikusZm2As • Tihai. 2011. Robert Altman on RASHOMON by Kurosawa. [Online]. [Accessed 19 August 2015] Available from: https://www.youtube.com/watch?v=oYWQa0GExt8 • VideoFromNewsarama. 2011. Cheaper Comics?! - Joe Quesada Explains Marvel's POV. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=iCJjF4YKqf8 • VideoFromNewsarama. 2011. 99¢ DIGITAL COMICS?! - MARK WAID's Controversy Explained. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=Ep-PVAUKHy8 Other • Blambot. 2015. Blambot [Online]. [Accessed 20 August 2015]. Available from: http://www.blambot.com/ • comiXology. 2013. comiXology Submit. [Online].[31/12/2014]. Available from: http://support.comixology.com/customer/portal/topics/350423-comixology-submit/articles?page=1 • de Campi, A. 2015. Interview with Alex de Campi. 1-6 January 2015, Online. • Electricomics. 2015. Electricomics. [Online]. [Accessed 20 August 2015]. Available from: http://electricomics.net/ • Imaginism Studios, StudioNX. 2013. NIKO and the Sword of Light - Fully Animated Comicbook. [Online].[31/12/2014]. Available from: •https://www.kickstarter.com/projects/1105575464/niko-and-the-sword-of-light • Smith, J. 1991. Bone Comic Covers. [Online]. [Accessed 20 August 2015]. Available from: http://www.doobybrain.com/2008/03/02/bone-comics-cover-gallery/ • Thrillbent. 2015. Thrillbent. [Online]. [Accessed 20 August 2015]. Available from: http://thrillbent.com/ • Wood, W. 1981. Wally Wood's 22 Panels That Always Work. [Online]. [Accessed 20 August 2015]. Available from: https://articulate-heroes.s3.amazonaws.com/1563.wallywood22panel1600nv6im1.jpg
0 Comments
|
Categories
All
Archives
December 2018
|