Well, what have I learnt from this unit? Let me tell you, a fair amount.
In between reading the Scott McCloud book and sitting through the lectures, my views on art and the Multimedia Design world have grown exponentially. From the book I've learnt a lot about comics, changing my rather flat perception of them to something deeper which sees past the surface and looks at them as a more complex medium. But the lessons learnt about comics, like closure, usage of time and so forth have also been transferred into how other artwork is created, as I looked for relationships between some of my favoured TV shows and paintings in my blogs and saw that which I have overlooked in the past. To say I have a larger appreciation (Or in some cases, now have a bigger loathing) of some of the shows I watch and the artwork I view is pretty.
The lectures too have been very enthralling. Not only have they introduced me to some rather epic pieces of work (White Stripes video much? Die Hard much? Betty Boop much?) but they have also allowed me to gain a deeper understanding of how these pieces of Multimedia are designed to have an impact on the audience and with which styles and forms they are created with. My horizons have been broadened and my creative mindset widened, and I’ve also been able to see how many different aspects of Multimedia can come together (The likes of animation, music, visual style, genre, interactivity and so forth) and influence the progression of the work in a remarkable way.
Although I've tried to progress my mindset in how I view artwork from the time I first decided I wanted to be an animator 5 years ago, this year has certainly helped me along this path filling me with inspiration, new techniques to utilise and enough culture and understanding to shake a stick at.
Sunday, June 8, 2008
'Understanding Comics' Chapter 9 Summary
The ninth and final chapter of the Scott McCloud’s ‘Understanding Comics’ is the summarising conclusion to the entire book, taking all the major points and ideas from the past chapters and putting them all together to cement his arguments.
In essence, the entire book has been like a big essay that is designed to change people’s perspectives on comics. McCloud explains that comics, like art, are a medium for creative communication that allows us to express our ideas and feelings to one another. This ability is reinforced due to the opened end nature of line, time, colour, closure and so forth within comics, at times even achieving that which the bounds of ‘fine art’ do not allow. It is a form that has evolved from its roots and will only continue to blossom. But, as McCloud details, this can happen a lot faster if preconceived notions about the ‘childishness’ of comics are broken. And if he has written the book correctly this is hopefully what he has achieved.
And I feel he has achieved this. McCloud has successfully argued his point and has ultimately changed my mind on comics too. Although I was an appreciator of comics to begin with I admittedly never really thought there was as much to comics more than that which met the eye. But this book has helped me see their complexity, helping me appreciate them on a scale that rivals some of my favourite artworks from fine artists I discovered whilst doing TEE Art. Not only this, but McCloud has also helped me gain a deeper understanding of artistic techniques like line and colour and how can proper utilisation of them within a comic/cartoon format is also extremely useful for changing impression of character. No doubt that these techniques will be in my own artwork, that is as soon as I get a chance to do some these holidays.
In a sense the book itself displays these mind-changing ideals, as it has been able to communicate these complex issues within a cartoon based comic format and yet has still maintained an extremely dignified intelligence around it.
I would, without a doubt, recommend this book to anyone from a budding cartoonist to a fine art critique to a high school art teacher. It is well argued, well structured, well drawn and makes several excellent points. If it doesn’t help change your mind on comics in one way or another, then I don’t think anything else could
In essence, the entire book has been like a big essay that is designed to change people’s perspectives on comics. McCloud explains that comics, like art, are a medium for creative communication that allows us to express our ideas and feelings to one another. This ability is reinforced due to the opened end nature of line, time, colour, closure and so forth within comics, at times even achieving that which the bounds of ‘fine art’ do not allow. It is a form that has evolved from its roots and will only continue to blossom. But, as McCloud details, this can happen a lot faster if preconceived notions about the ‘childishness’ of comics are broken. And if he has written the book correctly this is hopefully what he has achieved.
And I feel he has achieved this. McCloud has successfully argued his point and has ultimately changed my mind on comics too. Although I was an appreciator of comics to begin with I admittedly never really thought there was as much to comics more than that which met the eye. But this book has helped me see their complexity, helping me appreciate them on a scale that rivals some of my favourite artworks from fine artists I discovered whilst doing TEE Art. Not only this, but McCloud has also helped me gain a deeper understanding of artistic techniques like line and colour and how can proper utilisation of them within a comic/cartoon format is also extremely useful for changing impression of character. No doubt that these techniques will be in my own artwork, that is as soon as I get a chance to do some these holidays.
In a sense the book itself displays these mind-changing ideals, as it has been able to communicate these complex issues within a cartoon based comic format and yet has still maintained an extremely dignified intelligence around it.
I would, without a doubt, recommend this book to anyone from a budding cartoonist to a fine art critique to a high school art teacher. It is well argued, well structured, well drawn and makes several excellent points. If it doesn’t help change your mind on comics in one way or another, then I don’t think anything else could
'Understanding Comics' Chapter 8 Summary
The eighth chapter of the Scott McCloud’s ‘Understanding Comics’ discusses the usage of colour within comics, how it has been affected by commerce and technology and how it is another tool for creating mood and emotion around elements within these works of art.
Within the chapter, McCloud displays how colour, similarly to line, has a great impact on the artistic style of comics (As well as any other artistic medium). However it is more infrequently used than line, as colour is both strengthened and hindered by commerce and technology. While colour will often boost sales of the product its used it, it often costs a lot more to produce than simple black and white. And while technology is making colour easier to use it too is generally more expensive to purchase. But when colour is used in comics the effects are easily seen. Colours and tone affect form and the depth of objects, the emotion, mood and sensations of the comic, as well as realism and expressiveness. In fact comic artists will generally stick to a select amount of colours for characters to establish a recognisable scheme, or choose an overall range of colours to make up their own recognisable style. But overall, colour simply makes it seem more real.
Clearly colour is highlighted within this painting. Delaunay has used a ‘child-like’ range of colour (I use the term child-like due to their purity and vibrant, interesting look) throughout the painting, allowing it to leap of the canvas directly at the viewer. The explosion of colour is warm and vibrant, positioning the viewer to feel happier and joyous about the painting. And Delaunay was an Orphist painting, an art style that celebrated the mechanical and industrial revolution. And as this painting was a homage to the first pilot to fly over the English Channel, no mere feet at that time, it’s clear that the emotions heightened by the vibrancy of his colours are no mistake and where meant to express his appreciation for the machine. This is one of many examples how colour can help us feel more passionately for an art piece.
But going back to comics, I’d now like to talk about a lack of colour
Within the chapter, McCloud displays how colour, similarly to line, has a great impact on the artistic style of comics (As well as any other artistic medium). However it is more infrequently used than line, as colour is both strengthened and hindered by commerce and technology. While colour will often boost sales of the product its used it, it often costs a lot more to produce than simple black and white. And while technology is making colour easier to use it too is generally more expensive to purchase. But when colour is used in comics the effects are easily seen. Colours and tone affect form and the depth of objects, the emotion, mood and sensations of the comic, as well as realism and expressiveness. In fact comic artists will generally stick to a select amount of colours for characters to establish a recognisable scheme, or choose an overall range of colours to make up their own recognisable style. But overall, colour simply makes it seem more real.
Robert Delaunay, whilst not a comic artist, is a person who I feel utilised colour in a way that helps express his inner feelings much like McCloud outlined in the chapter. Take for instance ‘Homage to Bleriot’, my favourite of his paintings and indeed my favourite painting of all time.
Clearly colour is highlighted within this painting. Delaunay has used a ‘child-like’ range of colour (I use the term child-like due to their purity and vibrant, interesting look) throughout the painting, allowing it to leap of the canvas directly at the viewer. The explosion of colour is warm and vibrant, positioning the viewer to feel happier and joyous about the painting. And Delaunay was an Orphist painting, an art style that celebrated the mechanical and industrial revolution. And as this painting was a homage to the first pilot to fly over the English Channel, no mere feet at that time, it’s clear that the emotions heightened by the vibrancy of his colours are no mistake and where meant to express his appreciation for the machine. This is one of many examples how colour can help us feel more passionately for an art piece.
But going back to comics, I’d now like to talk about a lack of colour
As you can see, XKCD uses no colour. But this is not necessarily a bad thing. The characters within the webcomic are simplistic and rather it is the writing and the wit that is complex and deep. Colour isn’t necessary for the format of the comic’s style, chance are it would most likely distract you from the humour.
Such similarities with format are found within Japanese manga which are normally produced in black and white. Colour would simply take away from a lot of the work artists have spent putting into expressive linear work, detailed characters and deep scripts (Many things that McCloud has pointed out about Japanese artwork within his book). And going back to commerce limitations, since most manga are mass produced to the millions of people in Japan, are quite thick and are generally produced as a series it would simply cost too much time, effort and money to add colour when acceptable results are achieved without it.
Such similarities with format are found within Japanese manga which are normally produced in black and white. Colour would simply take away from a lot of the work artists have spent putting into expressive linear work, detailed characters and deep scripts (Many things that McCloud has pointed out about Japanese artwork within his book). And going back to commerce limitations, since most manga are mass produced to the millions of people in Japan, are quite thick and are generally produced as a series it would simply cost too much time, effort and money to add colour when acceptable results are achieved without it.
Overall, colour adds interest and more expression to artwork at the cost of money and more effort. While the same can still be achieved with black and white work, colour can add more vitality to a piece and as technology progresses colour will only become more easier to utilise
'Understanding Comics' Chapter 7 Summary
The seventh chapter of the Scott McCloud’s ‘Understanding Comics’ explains the creation and utilisation of art, as well as how comics follow a very specific formula that all artistic creations follow.
Throughout the chapter, McCloud explains how art is a by product of the human lifestyle and our need for survival. Art is a method that allows us to express ourselves, whether it about your inner emotional or past experiences, and serves for an exercise for the mind and body (It keeps us from going crazy). It also allows the artist to be in complete control, giving them a sense of power and can also be used to discover things about ourselves as well as that which is practical. McCloud also details how each piece of artwork, from comics to the high art of the Renaissance, are constructed from six ‘steps’ and only by applying to all of these in a detailed fashion will any piece of artwork’s message truly and consistently be transmitted to another clearly. These steps are idea, form, idiom/genre, structure, craft and surface.
I have found many examples of artwork that approach these six steps differently, and interestingly enough how well they have applied to these six steps has greatly influenced how I feel about them and how much I enjoy viewing them. I’d like to start with this example:
Oh Family Guy, it used to be such a great show. But lately, the writers of the show have been waning on coherent storylines going more for cut-away gags, improvisation to get laughs, musical numbers that come out of no where and having a throw away plot that can easily be resolved in 5 seconds. Also more of the lines now are ad-libbed and consist of the voice actors like Seth McFarlane jabbering incoherently for several seconds and making it seem like its funny. Granted it looks good on the surface, mainly due to the quality of the Korean animators. But some of the camera angles used in the earlier series are now seldom used, and the characters are largely seen in the same 3/4 position (Shown above) for the entire episode. It’s like a Flash animation where the animator is to lazy to create more than one type of symbol for the characters body. In short, Family Guy has become a show that looks like it’s been created by amateurs, looking good on the surface, throwing out the idea and structure and going for mindless wit instead.
Once again, I’m going to reference Neon Genesis Evangelion as a piece that exhibits all the right things about art. NGE has in fact been called art by many publications due to its progressively deep storyline and characters, not to mention some extremely artistic and exploratory sequences that reflect the consciousness of the characters. And I’d have to agree with these claims (If you can’t tell from all the times I talk about it). Although it has a deceptive surface that stereotypes it as a typical Japanese mecha all about action with cut-out characters. It’s a typical example of the old phrase ‘don’t judge a book by its cover’. It’s a strong and coherent combination of all the six steps that make up good art. If anime could ever be considered fine or high art of the 20th century, Neon Genesis Evangelion would certainly be the top contender (Aside from maybe Cowboy Bebop)
And even I myself, as I’ve come to learn more about art over the years have seen a progression in my work that is similar to what McCloud has detailed in the chapter. One of my main characters, called Charlie, was invented back in 2004 as a character I doodles on front of my file in whiteout. He and no background and little character but had a unique style, typical of the budding artist whose work only looks good on the surface. But as I picked up Flash I began to draw him more and shape him as a being. By 2005 he looked better and had a little story, building on the surface and craft as well as starting looking into idea and form. In 2006, the surface was nearing his final design as I perfected my form trying to remove most of the Simpson’s elements of his look to create a more original style. The story was there, but it lacked direction, and I began creating a more coherent and strong storyline for my craft (Which was animation). Now in 2007/2008, Charlie is looking more original and better than ever. I have his back story down and an idea for the series for him to star in and I know in which style I wish to present it in. As I have learn from both art in school and personal experience I have constructed an idea that applies to all of the six steps and, hopefully, when I get the time I shall finally put that which I have spent so much time crafting into motion.
First picture of Charlie in Flash
Charlie today
Overall, the six steps are in all pieces of art no matter how strong or weak. They help build art, that which is used to communicate with others and express our inner selves to the outer world. And the more strongly you apply to these steps, the sturdier the artwork remains and makes it easier to transmit your meanings to others through it.
Throughout the chapter, McCloud explains how art is a by product of the human lifestyle and our need for survival. Art is a method that allows us to express ourselves, whether it about your inner emotional or past experiences, and serves for an exercise for the mind and body (It keeps us from going crazy). It also allows the artist to be in complete control, giving them a sense of power and can also be used to discover things about ourselves as well as that which is practical. McCloud also details how each piece of artwork, from comics to the high art of the Renaissance, are constructed from six ‘steps’ and only by applying to all of these in a detailed fashion will any piece of artwork’s message truly and consistently be transmitted to another clearly. These steps are idea, form, idiom/genre, structure, craft and surface.
I have found many examples of artwork that approach these six steps differently, and interestingly enough how well they have applied to these six steps has greatly influenced how I feel about them and how much I enjoy viewing them. I’d like to start with this example:
Oh Family Guy, it used to be such a great show. But lately, the writers of the show have been waning on coherent storylines going more for cut-away gags, improvisation to get laughs, musical numbers that come out of no where and having a throw away plot that can easily be resolved in 5 seconds. Also more of the lines now are ad-libbed and consist of the voice actors like Seth McFarlane jabbering incoherently for several seconds and making it seem like its funny. Granted it looks good on the surface, mainly due to the quality of the Korean animators. But some of the camera angles used in the earlier series are now seldom used, and the characters are largely seen in the same 3/4 position (Shown above) for the entire episode. It’s like a Flash animation where the animator is to lazy to create more than one type of symbol for the characters body. In short, Family Guy has become a show that looks like it’s been created by amateurs, looking good on the surface, throwing out the idea and structure and going for mindless wit instead.
Once again, I’m going to reference Neon Genesis Evangelion as a piece that exhibits all the right things about art. NGE has in fact been called art by many publications due to its progressively deep storyline and characters, not to mention some extremely artistic and exploratory sequences that reflect the consciousness of the characters. And I’d have to agree with these claims (If you can’t tell from all the times I talk about it). Although it has a deceptive surface that stereotypes it as a typical Japanese mecha all about action with cut-out characters. It’s a typical example of the old phrase ‘don’t judge a book by its cover’. It’s a strong and coherent combination of all the six steps that make up good art. If anime could ever be considered fine or high art of the 20th century, Neon Genesis Evangelion would certainly be the top contender (Aside from maybe Cowboy Bebop)
And even I myself, as I’ve come to learn more about art over the years have seen a progression in my work that is similar to what McCloud has detailed in the chapter. One of my main characters, called Charlie, was invented back in 2004 as a character I doodles on front of my file in whiteout. He and no background and little character but had a unique style, typical of the budding artist whose work only looks good on the surface. But as I picked up Flash I began to draw him more and shape him as a being. By 2005 he looked better and had a little story, building on the surface and craft as well as starting looking into idea and form. In 2006, the surface was nearing his final design as I perfected my form trying to remove most of the Simpson’s elements of his look to create a more original style. The story was there, but it lacked direction, and I began creating a more coherent and strong storyline for my craft (Which was animation). Now in 2007/2008, Charlie is looking more original and better than ever. I have his back story down and an idea for the series for him to star in and I know in which style I wish to present it in. As I have learn from both art in school and personal experience I have constructed an idea that applies to all of the six steps and, hopefully, when I get the time I shall finally put that which I have spent so much time crafting into motion.
First picture of Charlie in Flash
Charlie today
Overall, the six steps are in all pieces of art no matter how strong or weak. They help build art, that which is used to communicate with others and express our inner selves to the outer world. And the more strongly you apply to these steps, the sturdier the artwork remains and makes it easier to transmit your meanings to others through it.
Wednesday, May 14, 2008
'Understanding Comics' Chapter 6 Summary
The sixth chapter of the Scott McCloud’s ‘Understanding Comics’ explains the nature of both the written word and images and how together they can influence the style and direction of a comic, strengthening in some ones whilst weakening it in others.
Throughout the chapter, McCloud makes constant reference to the differences between image and illustration. While words are considered to be more abstract art (In static terms) and pictures as more representation, current artistic trends are seeing the development and allowing them to cross into each others fields. And this is where the clash we see within the likes of comics begins. And while images and writing separately can easily be considered ‘high art’, the combination of the two is often overlooked and seen as childish and not seeing how useful it can be. It is in fact the combination of words and image that are propelling comics forward in style and content. Through it ideas can be connected in unlimited ways. Words can reflect or detract from what’s being said in the picture or they can give us storyline, expression emotion or specific detail ultimately rendering them as an extremely powerful tool for shaping the direction of the comic. I’ve got a few examples of some comics that show a successful combination of script and illustration and others that fail when trying to overwork certain aspects.
As I spend a lot of time on the internet I find myself reading a lot of web comics, more so than ones such as Marvel, DC or whatnot. What differs web comics from others is the fact they often focus on humour rather than artistic content or messages within the comic itself. For this reason, they will often allow most of the writing to lead up to the joke, only using images to back up their script or for a visual pun. A clear example of this is my first case in point ‘Control-Alt-Delete’ (http://www.ctrlaltdel-online.com/comic.php) It follows a typical comedic web comic format, an establishment panel, one or two for building up the joke and the final delivering the punch line. I wouldn’t really hold in the highest regard for quality (Yet I still read it for some reason), because it suffers from one fatal flaw. Walls of text. While understandable for web comics to use text to achieve their means, CAD tends to dominate each frame with text that isn’t 100% necessary. Perhaps this wouldn’t be so bad if the artwork was stylistic or exploratory, but most of his character are simple copy and paste designs who’s same expression can be seen in the past 3 years of his artwork.
Walls of text:
An example directly opposite of the CAD comic would be the ‘Breaking Quarantine’ comic from the Halo Graphic Novel. Look at the page below
It contains absolutely no text apart from sound effect (In Japanese by the way), and in essence they become part of the artwork style. In fact the entire comic has no text at all apart from these effects. And it works. The comic is based upon the action-packed escape of Sergent Johnson from a pursuing, grotesque alien menace called the Flood. It’s meant to be tense and intense, and the vibrant and expressive art style shows this (Kind of gives reference to my last blog with the use of line in an…explosive…sense). But by adding in the sound effects the artist is able to strengthen while adding another sense to the comic, further immersing the reading and adding more tension and emotion to the already startling action-oriented artwork.
While comics like XKCD (www.xkcd.com) or Cyanide and Happiness (www.explosm.net) go for more text and little images but somehow work better than CAD. Example:
The characters are simple, and the text is short and sweet. And the punch lines are always hilarious. The comics themselves are kind of like jokes you tell to friend, but put into a comic format. Yet a lot of the humour comes from the little characters within the comic. They’re so simple, yet can be warped and changed in a number of ways to create hilarious expressions and/or comical stances. And it’s because of their simplistic nature that makes such exotic poses so funny. Combined with jokes that are already funny without images you have comics that cannot fail to satisfy.
By combining two mediums that are already brilliant in expressing the human soul, comics are able to utilise their two spectrums to shift their work in new directions and weave new ways for storytelling and message transmission. And such techniques are certainly having an impact on me, because I to wish to use these mediums to bring some comedy into peoples lives too:
Throughout the chapter, McCloud makes constant reference to the differences between image and illustration. While words are considered to be more abstract art (In static terms) and pictures as more representation, current artistic trends are seeing the development and allowing them to cross into each others fields. And this is where the clash we see within the likes of comics begins. And while images and writing separately can easily be considered ‘high art’, the combination of the two is often overlooked and seen as childish and not seeing how useful it can be. It is in fact the combination of words and image that are propelling comics forward in style and content. Through it ideas can be connected in unlimited ways. Words can reflect or detract from what’s being said in the picture or they can give us storyline, expression emotion or specific detail ultimately rendering them as an extremely powerful tool for shaping the direction of the comic. I’ve got a few examples of some comics that show a successful combination of script and illustration and others that fail when trying to overwork certain aspects.
As I spend a lot of time on the internet I find myself reading a lot of web comics, more so than ones such as Marvel, DC or whatnot. What differs web comics from others is the fact they often focus on humour rather than artistic content or messages within the comic itself. For this reason, they will often allow most of the writing to lead up to the joke, only using images to back up their script or for a visual pun. A clear example of this is my first case in point ‘Control-Alt-Delete’ (http://www.ctrlaltdel-online.com/comic.php) It follows a typical comedic web comic format, an establishment panel, one or two for building up the joke and the final delivering the punch line. I wouldn’t really hold in the highest regard for quality (Yet I still read it for some reason), because it suffers from one fatal flaw. Walls of text. While understandable for web comics to use text to achieve their means, CAD tends to dominate each frame with text that isn’t 100% necessary. Perhaps this wouldn’t be so bad if the artwork was stylistic or exploratory, but most of his character are simple copy and paste designs who’s same expression can be seen in the past 3 years of his artwork.
Walls of text:
An example directly opposite of the CAD comic would be the ‘Breaking Quarantine’ comic from the Halo Graphic Novel. Look at the page below
It contains absolutely no text apart from sound effect (In Japanese by the way), and in essence they become part of the artwork style. In fact the entire comic has no text at all apart from these effects. And it works. The comic is based upon the action-packed escape of Sergent Johnson from a pursuing, grotesque alien menace called the Flood. It’s meant to be tense and intense, and the vibrant and expressive art style shows this (Kind of gives reference to my last blog with the use of line in an…explosive…sense). But by adding in the sound effects the artist is able to strengthen while adding another sense to the comic, further immersing the reading and adding more tension and emotion to the already startling action-oriented artwork.
While comics like XKCD (www.xkcd.com) or Cyanide and Happiness (www.explosm.net) go for more text and little images but somehow work better than CAD. Example:
The characters are simple, and the text is short and sweet. And the punch lines are always hilarious. The comics themselves are kind of like jokes you tell to friend, but put into a comic format. Yet a lot of the humour comes from the little characters within the comic. They’re so simple, yet can be warped and changed in a number of ways to create hilarious expressions and/or comical stances. And it’s because of their simplistic nature that makes such exotic poses so funny. Combined with jokes that are already funny without images you have comics that cannot fail to satisfy.
By combining two mediums that are already brilliant in expressing the human soul, comics are able to utilise their two spectrums to shift their work in new directions and weave new ways for storytelling and message transmission. And such techniques are certainly having an impact on me, because I to wish to use these mediums to bring some comedy into peoples lives too:
Wednesday, May 7, 2008
'Understanding Comics' Chapter 5 Summary
The fifth chapter of the Scott McCloud’s ‘Understanding Comics’ details the impact that lines and symbols can have on our understanding of pieces of art, specifically what emotions they invoke and how they can establish mood and feeling.
Throughout the chapter, McCloud details how lines can represent different emotions when drawn in different directions and styles, or when drawn together or used to form shapes. The lines become symbolic as they represent something we are familiar with, often in a much simplified form, and our minds instinctively relate these shapes
When used in combination with subjects in panel, or simply used as a background, lines can have a severe impact on the mood emanating from an artistic piece. And artists will use these reactions to line and shape to their advantage, from comic artists to those like Picasso. The way they work line can easily define their own style as they will often recreate the same sorts of lines over and over again, often saying something about their character and psyche. Let’s see some examples
‘The Scream’ by Edvard Munch and ‘Starry Night’ by Vincent Van Gogh are two good examples. The use of expressive line was first employed by the post-impressionist and expressionist painters, these artists wanting to establish a mood with their work rather than simply replicating what they saw (As was the style for many of the part artistic movements, and which was also the reason I felt extremely bored browsing several art galleries around Europe and seeing the same thing over and over again). They aimed to make the art more subjective as McCloud points out, and wanted to the viewer to feel what they felt when creating their pieces. The bold use of flowing and warped lines in both pieces creates a sense of madness due to their unrestricted and unguided path. While Munch may have done this on purpose to express the innermost feelings of his misshapen subject, Van Gogh seems to have done this subconsciously which interestingly reflect his mental condition of the time (He did paint the piece in a mental hospital)
We even see use of line throughout the natural world and people will exploit this for creative purposes. I feel this picture (Called Gothic Lines 01taken by a Deviant Art user called Photo-Witch) demonstrates this effect well.
The long verticals and the intricacies made up from the lines are highlighted within the photo due to its portrait layout and ability to capture the entire size of the pillars. The photographer positions you to see the marvel and majesty of the buildings design through showing its structural complexity in a certain way.
My final reference is to an anime I have only started watching recently, and one I feel represents the Japanese lust for manic, psychological art sessions in their works that Andrew was talking about in Kimba the White Lion. Neon Genesis Evangelion. NGE is reguarded as one of the greatest animes of all time, partially down to the deep psychological explorations of character within it. I wish to refer to one episode in particular, episode 20, where the main character Shinji is absorbed and becomes one with the god-like machine he pilots, leading to him to conflict with his own mind and learning much about himself. When in this state, he hears voices of different character in the anime and each is represented with these different lines.
Each person in his mind is shown with a different line. They all can be seen as representing how Shinji feels toward them, for example how his father is demonstrated. It shows how Shinji is unable to feel straightly about him. Or his relationship with Asuka, it is in a decline and is not simple enough to be flat or vertical.
Also, within this mental sequence (No pun intended), numerous pieces of art are show flashing in different quality at high speed. For example, a picture of Shinji’s father would be in full colour, then sketchy, then sketchy and hastily drawn in etc. and flashed repeatedly on screen. Again, this hectic nature of line creates a mad, insane and unstable atmosphere around the sequence. The fact that Japanese director Hideaki Anno and Vincent Van Gogh have used similar techniques with line in the works and produced similar outcomes is no coincidence. We are conditioned to see this way.
By appealing to more senses, these symbols are able to make more of an impression. We see a line, find descriptive words to explain its build and thus it becomes emotively attached to these descriptions. I feel putting emotions to lines it our way of coping with the world. We constantly need to find purpose in everything, whether it’s why trees have bark to why are we here. So when we see lines arranged in a pattern that isn’t natural, we automatically assume it must be that way for a reason. And this is not a bad thing at all, it helps further us both as a species and as individuals. We are able to reflect on ourselves and see that which is not on the surface, look deeper within our minds and find out what truly makes us human. That’s the reason Xavier was trying to make us represent feelings with lines in our first class with him this year, and this is why we are looking at how linear work within Kimba the White Lion can lead to tripped out psychological sessions within lectures. And all this from just a bunch of lines? I’m starting to feel a lot like Scott McCloud, there is a hell of a lot more to comics and their lines than meets the eye.
Throughout the chapter, McCloud details how lines can represent different emotions when drawn in different directions and styles, or when drawn together or used to form shapes. The lines become symbolic as they represent something we are familiar with, often in a much simplified form, and our minds instinctively relate these shapes
When used in combination with subjects in panel, or simply used as a background, lines can have a severe impact on the mood emanating from an artistic piece. And artists will use these reactions to line and shape to their advantage, from comic artists to those like Picasso. The way they work line can easily define their own style as they will often recreate the same sorts of lines over and over again, often saying something about their character and psyche. Let’s see some examples
‘The Scream’ by Edvard Munch and ‘Starry Night’ by Vincent Van Gogh are two good examples. The use of expressive line was first employed by the post-impressionist and expressionist painters, these artists wanting to establish a mood with their work rather than simply replicating what they saw (As was the style for many of the part artistic movements, and which was also the reason I felt extremely bored browsing several art galleries around Europe and seeing the same thing over and over again). They aimed to make the art more subjective as McCloud points out, and wanted to the viewer to feel what they felt when creating their pieces. The bold use of flowing and warped lines in both pieces creates a sense of madness due to their unrestricted and unguided path. While Munch may have done this on purpose to express the innermost feelings of his misshapen subject, Van Gogh seems to have done this subconsciously which interestingly reflect his mental condition of the time (He did paint the piece in a mental hospital)
We even see use of line throughout the natural world and people will exploit this for creative purposes. I feel this picture (Called Gothic Lines 01taken by a Deviant Art user called Photo-Witch) demonstrates this effect well.
The long verticals and the intricacies made up from the lines are highlighted within the photo due to its portrait layout and ability to capture the entire size of the pillars. The photographer positions you to see the marvel and majesty of the buildings design through showing its structural complexity in a certain way.
My final reference is to an anime I have only started watching recently, and one I feel represents the Japanese lust for manic, psychological art sessions in their works that Andrew was talking about in Kimba the White Lion. Neon Genesis Evangelion. NGE is reguarded as one of the greatest animes of all time, partially down to the deep psychological explorations of character within it. I wish to refer to one episode in particular, episode 20, where the main character Shinji is absorbed and becomes one with the god-like machine he pilots, leading to him to conflict with his own mind and learning much about himself. When in this state, he hears voices of different character in the anime and each is represented with these different lines.
Each person in his mind is shown with a different line. They all can be seen as representing how Shinji feels toward them, for example how his father is demonstrated. It shows how Shinji is unable to feel straightly about him. Or his relationship with Asuka, it is in a decline and is not simple enough to be flat or vertical.
Also, within this mental sequence (No pun intended), numerous pieces of art are show flashing in different quality at high speed. For example, a picture of Shinji’s father would be in full colour, then sketchy, then sketchy and hastily drawn in etc. and flashed repeatedly on screen. Again, this hectic nature of line creates a mad, insane and unstable atmosphere around the sequence. The fact that Japanese director Hideaki Anno and Vincent Van Gogh have used similar techniques with line in the works and produced similar outcomes is no coincidence. We are conditioned to see this way.
By appealing to more senses, these symbols are able to make more of an impression. We see a line, find descriptive words to explain its build and thus it becomes emotively attached to these descriptions. I feel putting emotions to lines it our way of coping with the world. We constantly need to find purpose in everything, whether it’s why trees have bark to why are we here. So when we see lines arranged in a pattern that isn’t natural, we automatically assume it must be that way for a reason. And this is not a bad thing at all, it helps further us both as a species and as individuals. We are able to reflect on ourselves and see that which is not on the surface, look deeper within our minds and find out what truly makes us human. That’s the reason Xavier was trying to make us represent feelings with lines in our first class with him this year, and this is why we are looking at how linear work within Kimba the White Lion can lead to tripped out psychological sessions within lectures. And all this from just a bunch of lines? I’m starting to feel a lot like Scott McCloud, there is a hell of a lot more to comics and their lines than meets the eye.
Wednesday, April 16, 2008
'Understanding Comics' Chapter 4 Summary
The forth chapter of the Scott McCloud’s ‘Understanding Comics’ explains the unique combinations of time and space and time and motion within comics, and how they are able to be combined in a way that no other mediums can do.
Within the chapter McCloud explains altering the frames within comics or enhancing the images and words within them can lead to timelessness, 4th dimensional quality. The space presented can be extended and changed to direct the reader’s eye in a new fashion, leading to different perceptions of time to be met. Time can also be reflected with blurs (Similar to what’s seen it photos of fast moving objects), giving static images a sense of moving in time within the frame. This is in contrast to the previousness method of time moving around the images themselves
The concept of time hasn’t really been touched on too much within class. However I myself have overlooked this concept of time quite consistently in my own comic reading. I’ve always just read such movements in time within comics as a natural occurrence and have never actually acknowledged or realised the complexity behind their usage. I never realised how unique the timeframe within a single frame in a comic is in the world of art.
Within the chapter McCloud explains altering the frames within comics or enhancing the images and words within them can lead to timelessness, 4th dimensional quality. The space presented can be extended and changed to direct the reader’s eye in a new fashion, leading to different perceptions of time to be met. Time can also be reflected with blurs (Similar to what’s seen it photos of fast moving objects), giving static images a sense of moving in time within the frame. This is in contrast to the previousness method of time moving around the images themselves
The concept of time hasn’t really been touched on too much within class. However I myself have overlooked this concept of time quite consistently in my own comic reading. I’ve always just read such movements in time within comics as a natural occurrence and have never actually acknowledged or realised the complexity behind their usage. I never realised how unique the timeframe within a single frame in a comic is in the world of art.
However one form of movement within art I am familiar with is Cubism
Cubism, like in the painting you see above, shows an object from many angles composed over one another (In this case, a person and their guitar). Although it may look like a mess (To some uncultured people anyway) it is in fact a vague representation of a still image in many different views, essentially giving it a sense of movement in time and space. However this sense of time is still not as powerful as comics. Cubism is almostly like a static 3D image while comic can actually show movement through time, which is more like a static scene of a film. For this reason it seems that comics can be seen as more powerful than any other art style in terms of power with time.
Overall, the presentation of time within comics is unique from any other medium and can be used to enhance the reading of comics greatly from an artistic and presentational standpoint.
Overall, the presentation of time within comics is unique from any other medium and can be used to enhance the reading of comics greatly from an artistic and presentational standpoint.
Wednesday, April 9, 2008
'Understanding Comics' Chapter 3 Summary
The third chapter of the Scott McCloud’s ‘Understanding Comics’ explains how the spaces between frames in comics, know as the gutter, are a special element that only comics can capture and how their power over the reader is utilised with different techniques and in different cultures.
Within the chapter, McCloud outlines how the gutter allows the reader to paste together their own version of what happens between frames, ultimately immersing the reader deeper in the comic. And how throughout comics, different types of transitions between times and actions and the use of the gutter can effect the flow of the comics and the ultimately the way the reader interoperates the storyline. McCloud also explores the percentage of each kind of transitions used in Western and Eastern comic styles, showing how certain use of these transitions can reflect the country’s history of art and how their artists choose to tell their stories artistically.
The idea of the reader/viewer putting together their own version of a story without actually seeing everything is similar to what we discussed about the lack of a human pushing the lawnmower in the Cain Toad video.
We also looked at anime like 'Grave of the Fireflies' where animators will not animate certain sequences, rather having static images in frame and using sound to fashion the idea of whats happening in the background (This is also an effective way of cutting animation costs, and doesn't detract from the actual film itself). We don't see what happens but thanks to the sounds our minds are able to put together whats happening with closure and progress the story forward. Even in horror films, you may not see the fatal stab but you hear the scream or see blood splatter across the wall. Your mind judges how violent the attack from your past experiences and closure yet again allows directors to cut down on production cost (In a totally artistic fashion of course).
We automatically assume such things due to conditioning with situations before, enhancing our viewing experience in a similar way we can with comics. This, plus the contrasts and similarities between Western and Eastern styles and how they intend on affecting the viewer was also touched on in class when comparing the styles of Osamu Tezuka and early American cartoons.
Overall, McCloud aims to educate us on how a simple, unique addition only found in comics can enhance our reading experience exponentially and how different cultures and artists use this to various advantages.
Within the chapter, McCloud outlines how the gutter allows the reader to paste together their own version of what happens between frames, ultimately immersing the reader deeper in the comic. And how throughout comics, different types of transitions between times and actions and the use of the gutter can effect the flow of the comics and the ultimately the way the reader interoperates the storyline. McCloud also explores the percentage of each kind of transitions used in Western and Eastern comic styles, showing how certain use of these transitions can reflect the country’s history of art and how their artists choose to tell their stories artistically.
The idea of the reader/viewer putting together their own version of a story without actually seeing everything is similar to what we discussed about the lack of a human pushing the lawnmower in the Cain Toad video.
We also looked at anime like 'Grave of the Fireflies' where animators will not animate certain sequences, rather having static images in frame and using sound to fashion the idea of whats happening in the background (This is also an effective way of cutting animation costs, and doesn't detract from the actual film itself). We don't see what happens but thanks to the sounds our minds are able to put together whats happening with closure and progress the story forward. Even in horror films, you may not see the fatal stab but you hear the scream or see blood splatter across the wall. Your mind judges how violent the attack from your past experiences and closure yet again allows directors to cut down on production cost (In a totally artistic fashion of course).
We automatically assume such things due to conditioning with situations before, enhancing our viewing experience in a similar way we can with comics. This, plus the contrasts and similarities between Western and Eastern styles and how they intend on affecting the viewer was also touched on in class when comparing the styles of Osamu Tezuka and early American cartoons.
Overall, McCloud aims to educate us on how a simple, unique addition only found in comics can enhance our reading experience exponentially and how different cultures and artists use this to various advantages.
Wednesday, March 26, 2008
'Understanding Comics' Chapter 2 Summary
The second chapter of the Scott McCloud book ‘Understanding Comics’ continues on after the first and focuses more so on the ideas behind comics and how they are presented in different ways to present different meanings to different lifestyles.
McCloud looks in detail at the concept of the artistic forms (Language, realistic art and icons and symbols in particular) and the ideals behinds these forms. There is a large difference between realism and abstraction, and the chapter details how the more abstract art of cartoons can often allow for a better expression of ideals thanks to their simplistic form and focus on only important details. This simplistic form also allows a broader classification of their imagery, allowing more people to readily accept them and to see themselves in the artwork (Possibly explaining why people have such a connection with cartoons especially at a young age)
McCloud also looks at a variety of comics and their artistic merit on a scale between ‘reality, meaning and the picture plain’ and how different placement on this scale can create an assortment of meanings to different people. Similarly, we looked into how different forms of animation/artwork are utilised in a variety of cultures to impact on their viewers in certain ways. For instance, how Disney would use large eyes and other ‘cute’ features on young Simba within the Lion King movie to appeal to the younger (Or softer) audience, or how Japanese manga will use vivid face distortions in a highly abstract form to appeal to the humour of the Japanese youths.
Lets take a look at two pieces of art to cement this theory
This first is an Expressionist piece, the second is Realism. The first is more open to interpretation, it is abstract so there is no one solid meaning to what you see. And the artist has chosen their own colour palette and brush strokes, the piece is made from painting something but in their own way to fashion how they want you to respond to it. It is a piece that wants to capture you more to think about meaning. While the second, it is an artist trying to replicate a real situation. It is realistic art. There is little room for interpretation, it is simply what is seen. The artist is trying to show their prowess, highlighting their skill rather than craft meaning. This is what McCloud is trying to say, that artists can use symbolism or different ways of displaying their art to make the viewer approach and understand their pieces in different ways.
Essentially, the chapter details how comics use abstraction to focus more on ideas behind the artwork and how different delivery of these pictures can lead to different interpretations, both artistically and intellectually.
McCloud looks in detail at the concept of the artistic forms (Language, realistic art and icons and symbols in particular) and the ideals behinds these forms. There is a large difference between realism and abstraction, and the chapter details how the more abstract art of cartoons can often allow for a better expression of ideals thanks to their simplistic form and focus on only important details. This simplistic form also allows a broader classification of their imagery, allowing more people to readily accept them and to see themselves in the artwork (Possibly explaining why people have such a connection with cartoons especially at a young age)
McCloud also looks at a variety of comics and their artistic merit on a scale between ‘reality, meaning and the picture plain’ and how different placement on this scale can create an assortment of meanings to different people. Similarly, we looked into how different forms of animation/artwork are utilised in a variety of cultures to impact on their viewers in certain ways. For instance, how Disney would use large eyes and other ‘cute’ features on young Simba within the Lion King movie to appeal to the younger (Or softer) audience, or how Japanese manga will use vivid face distortions in a highly abstract form to appeal to the humour of the Japanese youths.
Lets take a look at two pieces of art to cement this theory
This first is an Expressionist piece, the second is Realism. The first is more open to interpretation, it is abstract so there is no one solid meaning to what you see. And the artist has chosen their own colour palette and brush strokes, the piece is made from painting something but in their own way to fashion how they want you to respond to it. It is a piece that wants to capture you more to think about meaning. While the second, it is an artist trying to replicate a real situation. It is realistic art. There is little room for interpretation, it is simply what is seen. The artist is trying to show their prowess, highlighting their skill rather than craft meaning. This is what McCloud is trying to say, that artists can use symbolism or different ways of displaying their art to make the viewer approach and understand their pieces in different ways.
Essentially, the chapter details how comics use abstraction to focus more on ideas behind the artwork and how different delivery of these pictures can lead to different interpretations, both artistically and intellectually.
Wednesday, March 19, 2008
'Understanding Comics' Chapter 1 Summary
The first chapter of the Scott McCloud’s ‘Understanding Comics’ is a thorough and insightful look into the concept of comics, I type of insight I must admit I never actually considered when talking about comics myself.
In the chapter, McCloud defines the word ‘comic’ and their meaning. Or at least he tries to an extent that the English language allows him to, showing just how complex comics can really be and he acknowledges how hard they are to define. He also looks at the history of comics, illustrating these using historical examples of ancient art and scripture that fit the ‘comic’ definition, showing their usefulness as a story telling device.
Through a combination of these two factors McCloud is able to display comics in a way that destroys the common perception of them being childish and without meaning. By showing their complexity in definition and their similarity to highly praised artwork he is able to show them in a more mature and dignified light and that they can hold deep meaning underneath their exterior. This idea is similar to what we discussed with South Park in our lectures, that strong meaning (Both good and bad in the case of South Park) can often be hidden underneath a seemingly childish delivery system.
Although its being seen now more than in the earlier days, since episodes of South Park are so easy to create (Taking only a few days at a time for each episode) they are able to produce episodes on current events and thus deliver a message to the public much more quicker than other. They can focus on the script and message and not worry so much about what it will look like, and as the show is humourous people are able to more easily warm to it and accept the messages more readily. Yet people see it outrightly as crude and useless due to its look/format and humour style, much like how people will judge comics as child-like due to their association with children.
Overall McCloud aims to show that there is a lot more to comics might think, and wishes to leave the reader with an expanded mindset when reading into understanding comics.
In the chapter, McCloud defines the word ‘comic’ and their meaning. Or at least he tries to an extent that the English language allows him to, showing just how complex comics can really be and he acknowledges how hard they are to define. He also looks at the history of comics, illustrating these using historical examples of ancient art and scripture that fit the ‘comic’ definition, showing their usefulness as a story telling device.
Through a combination of these two factors McCloud is able to display comics in a way that destroys the common perception of them being childish and without meaning. By showing their complexity in definition and their similarity to highly praised artwork he is able to show them in a more mature and dignified light and that they can hold deep meaning underneath their exterior. This idea is similar to what we discussed with South Park in our lectures, that strong meaning (Both good and bad in the case of South Park) can often be hidden underneath a seemingly childish delivery system.
Although its being seen now more than in the earlier days, since episodes of South Park are so easy to create (Taking only a few days at a time for each episode) they are able to produce episodes on current events and thus deliver a message to the public much more quicker than other. They can focus on the script and message and not worry so much about what it will look like, and as the show is humourous people are able to more easily warm to it and accept the messages more readily. Yet people see it outrightly as crude and useless due to its look/format and humour style, much like how people will judge comics as child-like due to their association with children.
Overall McCloud aims to show that there is a lot more to comics might think, and wishes to leave the reader with an expanded mindset when reading into understanding comics.
Wednesday, March 12, 2008
Response to three points of the Growth Manifesto
18. Stay up late. Strange things happen when you’ve gone too far, been up too long, worked too hard, and you're separated from the rest of the world.
I found this point to be particularly interesting to me, as I myself spend most of my time awake at night. My version of a good nights sleep spans from 3am to 12pm, so I can relate to the statement ‘staying up late’. But I’ve never really thought of drawing at such an early time. Although I can understand what the point means by strange things happening, as when I get tired around that time I experience a state of being close to that of intoxication. Drawing at a time when I’m in this weird state could be interesting for drawing’s sake, as what my mind’s eye sees, perceives and thinks could be radically different to what I experience when completely alert. Thus this could help further my drawing skills and vision
34. Make mistakes faster. This isn’t my idea -- I borrowed it. I think it belongs to Andy Grove.
One thing I particularly hate is not having something looking perfectly like the way I want it to the first time I draw or animate it. Normally when I encounter such a situation I stop all the artwork I have done and leave it, most likely moving onto another drawing and completely forgetting about all the time and effort I put into it. Although I am able to learn from my mistakes, it’s normally a much more long and drawn out process (No pun intended). I think if I were able to complete most of my work and as such make a larger amount of mistakes I would be able to view my imperfections and judge myself at a higher rate and with superior quality. The only way to improve is to learn from my mistakes, so I need to finish those mistakes first.
41. Laugh. People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves
I’m particularly fond of laughter, I find it is one of the most potent and enjoyable way of expressing oneself and bringing my joy to others. Having a statement like this, simply ‘laugh’, is perhaps the easiest yet most deep statement in which to live your career to. It promotes a good worth ethic as well as a good goal and can make even the dullest situation a little brighter. It too can also be extremely expressive based on ones mood. It’s a statement I already try and live my life by. That nothing is over being looked at with laughter. So it’s good to see that my ideas are already heading on the right track.
I found this point to be particularly interesting to me, as I myself spend most of my time awake at night. My version of a good nights sleep spans from 3am to 12pm, so I can relate to the statement ‘staying up late’. But I’ve never really thought of drawing at such an early time. Although I can understand what the point means by strange things happening, as when I get tired around that time I experience a state of being close to that of intoxication. Drawing at a time when I’m in this weird state could be interesting for drawing’s sake, as what my mind’s eye sees, perceives and thinks could be radically different to what I experience when completely alert. Thus this could help further my drawing skills and vision
34. Make mistakes faster. This isn’t my idea -- I borrowed it. I think it belongs to Andy Grove.
One thing I particularly hate is not having something looking perfectly like the way I want it to the first time I draw or animate it. Normally when I encounter such a situation I stop all the artwork I have done and leave it, most likely moving onto another drawing and completely forgetting about all the time and effort I put into it. Although I am able to learn from my mistakes, it’s normally a much more long and drawn out process (No pun intended). I think if I were able to complete most of my work and as such make a larger amount of mistakes I would be able to view my imperfections and judge myself at a higher rate and with superior quality. The only way to improve is to learn from my mistakes, so I need to finish those mistakes first.
41. Laugh. People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves
I’m particularly fond of laughter, I find it is one of the most potent and enjoyable way of expressing oneself and bringing my joy to others. Having a statement like this, simply ‘laugh’, is perhaps the easiest yet most deep statement in which to live your career to. It promotes a good worth ethic as well as a good goal and can make even the dullest situation a little brighter. It too can also be extremely expressive based on ones mood. It’s a statement I already try and live my life by. That nothing is over being looked at with laughter. So it’s good to see that my ideas are already heading on the right track.
Wednesday, March 5, 2008
Observational Walk
I feel at one with nightime walking, there is something peaceful and tranquil about it. So I thought my observation filled walk should be on a quiet night to allow me to gain a little more insight into one of my favourite pastimes. This presented challenges mainly due to the nature of taking pictures in the dark, hence why some of the photos look overexposed, wobbly or exeedingly bright. My walk took me on a fairly basic route, out around a school local to my area, around some backstreets, to a highway and then back home. But I was able to get a few good shots as well as some interesting observations:
Observations
- Everything is very still, little to no wind (At least when I went out)
- Cockroaches are much more active and scurry into view with surprising frequency
- I met only 3 other people and a dog on my journey
Observations
- Everything is very still, little to no wind (At least when I went out)
- Cockroaches are much more active and scurry into view with surprising frequency
- I met only 3 other people and a dog on my journey
- The surroundings were relatively clean from what I could see
- Lights are either harsh white light or warm orange/yellow light
- White light producing lampposts are generally smaller and have a circular case protecting the globe
- Orange light producing lampposts are generally larger, have an oval shaped case protecting the globe and can be seen with two heads (Normally line the freeway/highway) - The orange light will give the surroundings an orange hue, unlike the white light which just illuminates
- Lampposts are not tube shaped, but are actually octangular (As in they have 8 sides)
- When light is seen through objects (Such as tree leaves) the objects make the light source seem to glow more
- The road glistens in the light due to the refractive nature of the gravel
- Shadows produced can stretch on for meters if uninterrupted by a harsh light source, even able to cross an oval length and still be seen on tree trunks- Shadows also have varying degrees of intensity as in they vary in darkness depending on the strength of the light source creating them
- Shadows are not extremely defined but have more of a softer outline
- When light is absent and looking at something far away, the eye can see little but pitch black in the shadows- The sky is not pitch black, large light sources (such as from the city) produce enough light to illuminate the sky and make it more of a grey colour. This effect is called light pollution
- Trees silhouette against the sky
- Signs refract light. Lampposts are positioned in a way not to allow the sign to reflect their light. The white light lampposts also seem to reflect less
- People also tend to obey the road rules less at night
- It is easy to walk into spider webs
Sound Observations:
- Sounds include cars heard driving/speeding in the distance, the docile hum of sprinklers and naturally a chorus of crickets
- There are two aspects to the cricket chorus. A long, singular note drone generally heard in the distance. And the constant, repeating chirp of those crickets more nearby.
Subscribe to:
Posts (Atom)
