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.
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