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robertogreco : graphicnovels   27

Are.na / Blog – Breaking the Sequence
"When I created the channel on which this case study is based, I put the whole title in quotation marks—“experimental” “comics”—and initially made it private, wary that my descriptors were either too broad or too limiting. Categorizing these works as experimental, or even as comics, served as little more than to create a placeholder. This is where I would collect and organize works that didn’t quite look like any comics I’d seen before, but that I liked a whole lot, and wasn’t entirely sure why.

As the channel grew, patterns arose, and it became clear that the comics that read to me as experimental were ones that integrated aesthetic principles and practices from fine art, graphic design, experimental music, sculpture, architecture, poetry, video games, and text adventures. They often didn’t employ the typical narrative devices—dialogue, plot, climax, even characters—but they still told a story. Sometimes it was the form that I identified as experimental, other times it was the processes by which they were made.

That explained the experimental. But if these works were so genre-fluid, what kept them considered comics?

In a lecture, the writer and webcomics artist Daniel Merlin Goodbrey provides a helpful outline of characteristics that are distinct to comics as a visual medium. Defining the norm gave me a framework for understanding the works that deviate from it. Goodbrey’s characteristics were a useful jumping off point for articulating what the works I was collecting were doing, and why they struck me so powerfully. They are:

Juxtaposition of images
Spatial networks
Space as Time
Temporal Maps
Closure between Images
Word & Image Blending
Reader Control of Pacing

Experimental comics, then, are works that acknowledge the traditional framework of comics but, rather than adhere to it, tend to tilt, twist, and warp it into other things. This case study offers a survey of comics that abandon one or more of these characteristics, honoring innovations by artists, video game designers, poets, and educators alike. It should go without saying that these categories are by no means mutually exclusive. There are comics that exist outside of and in between these make-shift categories. As you may expect, there are very few rules.

1. Abstract Formalist Comics
2. Comics Poetry
3. Digital and Game Comics
4. Scores, Maps, and Designed Constraints"

[each of those four examples is expanded on in the following text with images and videos to explain]
sheafitzpatrick  comics  form  design  are.na  2017  graphicnovels  art  poetry  games  gaming  videogames  space  time  words  images  experimental 
june 2018 by robertogreco
Florence on the App Store
[See also: http://florencegame.com/
http://annapurna.pictures/interactive/florence ]

"Florence is an interactive storybook from the award-winning lead designer of Monument Valley about the heart-racing highs and heartbreaking lows of a young woman's very first love.

Florence Yeoh feels a little... stuck. Her life is an endless routine of work, sleep, and spending too much time on social media. Then one day, she meets a cello player named Krish who changes everything about how she sees the world and herself.

Experience every beat of Florence and Krish's relationship through a series of mini-game vignettes - from flirting to fighting, from helping each other grow... to growing apart. Drawing inspiration from 'slice of life' graphic novels and webcomics, Florence is an intimate and unforgettable story."

[See also: "Falling in Love? Sounds Glorious. A new series celebrating great game soundtracks. This week: Florence." ("This story can only be viewed in the App Store on iOS 11 with your iPhone or iPad.")
https://itunes.apple.com/us/story/id1371611263 ]
games  ios  gaming  videogames  stories  storytelling  applications  graphicnovels  webcomics 
june 2018 by robertogreco
How Comic Books Can Get Even Better for Dyslexic Readers - Pacific Standard
While the medium is relatively accessible for people with reading difficulties, its lettering norms are still leaving some behind.
dyslexia  comics  graphicnovels  disability  disabilities  2017  lettering  christinero  accessibility  reading 
december 2017 by robertogreco
Atelier Sentô: ONIBI
[via: https://twitter.com/RedCityNoise/status/814952354856497152 ]

"ONIBI, a comic book about the invisible spirits haunting the Japanese countryside"

[translation:

"By Cécile Brun & Olivier Pichard (Atelier Sento)

Hidden on the edge of a country trail or in the shadow of a temple, Japanese spirits, foxes, tanuki and other yokai look out for the lost traveler in hopes of playing tricks on him. Cécile and Olivier, freshly installed by the sea of ​​Japan in Niigata, buy an old device a little special supposed to print these spirits on the film. In their quest to take pictures, they portray a Japan in balance between two worlds.

Despite the modernization of the country, the Japanese still often take the ghost stories very seriously. The stories of yokai and other spirits remain very present and anchored in popular folklore." ]

[See also:
https://www.behance.net/gallery/43663113/Onibi-graphic-novel
http://www.issekinicho.fr/editions/produit/onibi/
https://www.youtube.com/watch?v=KxKy5tgjsAE
https://www.youtube.com/watch?v=1VMthfDUlrA
http://ateliersento.com/post/154816258060/an-interview-video-by-jeremy-meets-japan-a-month
https://www.youtube.com/watch?v=k5fT-d1jEWE ]
comics  comicbooks  graphicnovels  japan  spirits  classideas  books  sfsh  onibi  folklore  cécilebrun  olivierpichard  ateliersentô 
january 2017 by robertogreco
Raina Telgemeier's Graphic Novel 'Ghosts' Takes On A Tough Topic For Children : NPR
"Raina Telgemeier's new graphic novel Ghosts is about death. But it's written for children.

Telgemeier tells NPR's books editor Barrie Hardymon that stories serve as a way to begin difficult conversations. "Stories are such a powerful way of communicating ideas and in comforting people," she says.

Telgemeier has been writing and drawing graphic novels for years. Her 2010 memoir Smile recounts what it was like to be teased by other children face after losing two front teeth in sixth grade and wearing "embarrassing headgear," braces and "even a retainer with fake teeth attached."

In 2012, Telgemeier's Drama told a "colorful tale of teenage intrigue, but this time the mad crushes and mood swings take place among the stage crew of a middle-school theater production," said NPR's Glen Weldon, who called it "an unabashedly sunny, funny and warmhearted read."

Her latest graphic novel Ghosts is about two sisters, middle-schooler Catrina and little sister Maya, who has the incurable lung disease cystic fibrosis. Their family has just moved to a new town on the Northern California coast where their parents hope the cool sea air will help Maya breathe.

The town turns out to be full of ghosts — and Maya wants nothing more than to befriend them, though her older sister can't accept that Maya may soon join them. The story carries themes of acceptance, packed with imagery of the town, its ghosts and its Day of the Dead celebrations.

Telgemeier talked with NPR's Barrie Hardymon about broaching difficult topics with children, why she likes skeletons, and the similarities between characters and real people in her life."

[See also: https://boingboing.net/2016/10/04/ghosts-raina-telgemeier-upbea.html

"YA graphic novelist Raina Telgemeier is a force of nature; her Babysitters Club graphic novels are witty and smart and snappy; her standalone graphic novels are even better, but her latest, Ghosts, is her best to date: an improbably upbeat story about death, assimilation and cystic fibrosis.

Catrina doesn't want to move to Bahia de la Luna in Northern California; she's a So-Cal kid and she loves her middle-school friends. But the sun only shines 62 days a year in Bahia de la Luna, and that's important for the health of her little sister, Maya, who has cystic fibrosis.

Realistically, everyone knows that Maya's illness will kill her someday, and maybe someday soon. Practically speaking, they put it behind them, adapt, try strategies for making the most of their time together. So they move to foggy northern California, where Cat and Maya go looking for friends -- and find them, sorta.

Carlos is a local kid in Catrina's grade, and he specializes in giving ghost tours. That's fertile ground, because there are really ghosts in Bahia de la Luna, who come through in the thin places, like the old Spanish Mission, and who are decidedly friendly -- and, if you can give them a little of your breath, they get decidedly lively. The problem is that Maya doesn't have any breath to give -- her first encounter with the friendly spirits sends her to the hospital.

Catrina tries to make it work. She makes more friends, stays clear of the ghosts, gets settled in at school. But the ghosts won't stay clear of her -- they keep manifesting around the house, where Maya is now on a respirator full-time.

The change of location, and the family's friendships with Carlos's family, triggers a long-overdue discussion with Maya and Cat's mother about her own Mexican heritage, the difficult times she had with her mom, and how much of their family heritage disappeared when their grandmother died.

As Halloween and the Dia de los Muertos approach, all of the story's threads begin to gather, heading for a conclusion that seems like it could be wrenching and/or terrifying -- but rather than going for a cheap scare or cheap tears, Telgemeier pulls off an ending that is emotionally complicated, nuanced, and, if it's a little sad, it's also equally joyous. It's a stupendously executed tale, and handles difficult themes related to culture, assimilation and chronic illness in children, and when I finished reading it to my eight-year-old yesterday, we were both riveted."]
classideas  graphicnovels  rainatelgemeier  death  2016  ghosts  california  norcal  books  socal 
november 2016 by robertogreco
Maria Fröhlich
["Comic artist and illustrator from the dark woods of northern Sweden."
http://mariafrohlich.daportfolio.com/about/ ]

[See also:
https://www.instagram.com/mariafrohlichart/
https://twitter.com/MariaFrohlich ]

[via: http://us6.campaign-archive2.com/?u=88819455cab0b1139f96cec4d&id=6cb5179504

"The image above is part of the concept art for Maria Fröhlich's book Tales from Miraclecity. Her illustration blog features a society brimming with people of color — especially children — playing and exploring in a world both present and future." ]
mariafröhlich  illustration  sweden  peopleofcolor  scifi  sciencefiction  future  comics  graphicnovels  tumblrs 
november 2016 by robertogreco
Here Comes Hilda - The New Yorker
"It began, as adventures often do, with a trip: a family holiday in Norway, parents and their teen-agers, that seemed entirely straightforward at the time. “My imagination was really going for it on that trip—the landscape of the place stuck with me,” Luke Pearson, the British author of the Hildafolk series of graphic novels, told me. “At the time, I was reading about trolls and daydreaming, knowing I wanted to do something with that one day.”

Next, there was a map. “When I was at university, everyone who studied illustration was given a project to do an illustrated map of a country, and I was given Iceland,” he said. “I made a map of Icelandic folktales—you can still play it.” Move the digital clouds on Pearson’s “Hidden Iceland” and see, in their shadows, the giants and sprites and Viking ships just beneath that country’s peaks and fjords.

Finally, there was a girl: Hilda, now the star of four (soon to be five) comics. Netflix is planning a twelve-episode animated series, based on the first four books, for early 2018. The fifth book, “Hilda and the Stone Forest,” comes out in September.

When Pearson was still in school, in 2009, he submitted a one-page drawing to a competition run by Nobrow, now his publisher. “She’s basically wearing her outfit”—beret, scarf, red top, blue skirt, and big red boots—Pearson said, of Hilda. “She’s standing at the end of a pier, with a Scandinavian-esque city behind her and all kinds of creatures around, including a giant troll and a zeppelin in the sky.” A similar scene occurs in the third Hilda book, “Hilda and the Bird Parade,” but at the beginning Pearson didn’t have a story, just this “curious image” of a small girl with blue hair and a question: “Where is she and what does she get up to?”

What she gets up to is a string of adventures, first in the Heidi-esque hills above Trolberg, and then in the city itself—a move made (spoiler alert!) after a giant steps on the cozy ancestral cottage that she shares with her mother. That Hilda herself has long been a giant to a set of thumb-size invisible elves, living on the same patch of grass that her cabin sits on, is just another part of a life in which mythical creatures hide within mountains and behind bureau drawers. (There’s a lot of unused space in Hilda’s house, you see.)

For such a small girl, Hilda is about to get very big, and I am not at all surprised. My five-year-old daughter brought the first book home from a friend’s house, and it took reading only the first few pages, beautifully laid out, with the rich color palette of a Nordic sweater, to know that Hilda was something special. Trolberg may have a complex of bell towers (bells keep trolls at bay, we learn), but it also has a glassy downtown à la Houston. “All of these stories are riffs on folktales that are as old as time, that have taken a hard left turn through Luke’s imagination and all of these contemporary pop-cultural sensibilities,” Kurt Mueller, the executive vice-president at Silvergate Media, which will produce the Hilda series, said. (The company’s other series include “The Octonauts” and “Peter Rabbit.”) “Like the movies of Miyazaki, she feels totally of the moment, but she’s reacting to something that feels ancient and archetypal,” Mueller said. The nostalgic Northern European setting recalls Miyazaki’s romanticism, while Hilda’s communion with the conjoined natural and spirit worlds recalls San from “Princess Mononoke” or Satsuki from “My Neighbor Totoro.”

My first point of comparison was Lewis Carroll’s Alice, though Pearson said that he never thought of her. But, greeted by a little girl in an unchanging outfit, who is confronted with all manner of creatures great and small, in landscapes giant and miniaturized, who else are we to think of? What’s markedly different with Hilda is the attitude with which she greets her wonderland. She does not fall down a hole but strides, prepared with sketchbook and satchel, into the wind and weather. The first words of the first book, “Hilda and the Troll,” are delivered by a radio announcer: “But tonight clouds rolling in from the east . . . temperatures remain mild . . . with the likelihood of heavy rain.” Hilda, reading a tome on trolls at the breakfast table, rushes outside her red, peak-roofed cabin to see storm clouds forming over an adjacent peak. “Mum! Mum! It’s going to rain tonight! Can I sleep in the tent?” And Mum says yes.

Pearson’s aesthetic is sophisticated for the often candy-colored world of children’s animation, and the plots fit neatly into a number of present-day parenting preoccupations. Do children need dream time or organized activities? Nature or urban exploration? Pearson himself is too young to have friends with kids, so one suspects that his sensitivity to children’s desire for independence, combined with a need for a secure nest, may stem from his own childhood. Hilda’s mum wants her to have friends, to go to school, to participate in organized activities, but Hilda is always wandering off, learning Scout lessons on her own terms. Pearson says the scenes of the Sparrow Scouts were taken directly from his own Cub Scout experiences, down to the design of the church hall in which they meet (made of Nordic wood rather than Tamworth brick).

In the countryside, Hilda runs free, but the city brings greater conflict between her and her mother—who works from home at a drafting board, perhaps as an architect or an illustrator. Pearson’s panels are filled with such suggestive details, rewarding the close and repeated reading of small children. One of my daughter’s favorite spreads is at the back of the paperback version of “Hilda and the Troll”: a glimpse of Hilda’s realistically messy desk and shelves, stocked with Easter eggs from this and future tales, allowing young readers to put a few things together for themselves. Pearson extends the respect he has for Hilda to his audience, giving it room to discover the good kind of troll for themselves.

Pearson’s utter lack of pretension keeps Hilda feeling fresh, while his reading of folktales and Tove Jansson’s Moomin series embeds Hilda in the long history of children’s stories. Spunky heroines abound, but they don’t always speak to the present day. Hilda’s dilemmas, while fantastic, also feel real: Does she throw a rock at a pigeon to fit in? Does mother know best? Can one, or both, of them draw their way out of their latest adventure? Pearson has found a lovely new way to dramatize childhood demons, while also making you long for your own cruise down the fjords."

[See also:
https://islingtoncomic.blogspot.sg/2012/05/hilda-and-midnight-giant.html
http://www.tcj.com/i-wanted-a-character-who-was-very-positive-an-interview-with-luke-pearson/
http://www.hoodedutilitarian.com/2014/09/how-to-read-hilda/
http://comicsalliance.com/learning-and-inspiring-in-luke-pearsons-hilda-comics-review/
https://thebookwormbaby.blogspot.com/2016/02/the-amazing-world-of-hilda.html ]
books  childrensbooks  childhood  alexandralange  2016  lukepearson  comics  graphicnovels  toread  hilda  nordiccountries  hayaomiyazaki  girls  heroines  aliceinwonderland  lewiscarroll  play  maps  mapping  parenting  sfsh  iceland  pippilongstocking  tovejansson  princessmononoke  myneighbortotoro  studioghibli  scandinavia  illustration  folktales  moomin  childrensliterature 
june 2016 by robertogreco
A Gorgeous New Graphic Novel Made From GIFs | WIRED
"As the GIF continues to evolve into a format favored by artists, rather than just Tumblr users, it’s hard not to wonder: Where is all this going? The recent creative explosion in GIF-making—like this and this—means there’s an endless online bank of animated loops to delight in. But even the most inventive of these are bite-sized visual snacks, not developed narratives.

From the look of this new GIF graphic novel (it’s straightforwardly titled GIF-Novel), the GIF could have a killer future in graphic novel storytelling. French artist Mattis Dovier and British band Wild Beasts teamed up to create it for The Jameson Works, a new online dossier of creative projects sponsored by the whiskey brand.

In GIF-Novel, a tall and slender Martian-like character finds himself (somewhat mysteriously) in an unfamiliar land of volcanic rock and smoke. He (she?) has crash-landed, and stumbles into psychedelic experiences while trying to find his way. The theme—a robotic human confronting a foreign land—developed after Wild Beasts sent two unreleased tracks to Dovier, and asked him to pick one and build a visual story around it. “It was hard to choose, and in discussion with the band, I realized that they were complementary in their themes. Blood Knowledge is alluding to the human and the past, and Soft Future is referring to the future, the machine, the digital,” Dovier says. They ended up using both tracks.

A teaser video from Jameson offers a quick behind-the-scenes look into how Dovier created the GIFs. With a calligraphy pen and paper, he first sketches out the characters, objects, and setting. GIF-Novel is created in the style of Japanese manga (or animé), but is much more pixelated. Dovier introduced the pixelated look both to nod at retro pixel art, and to create a grid that would let him animate more efficiently. Once the visual elements are decided on, he transfers drawings to his graphic tablet.

This isn’t the first time an animator has used GIFs to create a graphic novel. In 2012 Ryan Woodward created Bottom of the Ninth, calling it the first animated novel. In the futuristic baseball-themed story, frames animate in tiny loops while the bulk of the story gets told in speech bubbles—a traditional comic book tool that Dovier leaves out of GIF-Novel. Instead, his relies on the Wild Beasts’ music and longer and more intricate loops of animation to advance the narrative. It’s exciting new terrain for animators: Even within the design constraints of the GIF, there’s ample room for manipulating the length of the loop, how it repeats, and how text plays (or doesn’t) a role. “This format can be an interesting alternative to video and fixed image,” Dovier says. “It doesn’t replace them, of course, but it can draw some characteristics from them, and by linking them, it may lead to something else.”

Check out GIF-Novel in its entirety at The Jameson Works."
gif  gifs  graphicnovels  comics  2014  gif-novel  mattisdovier  wildbeasts  thejamesonworks 
december 2014 by robertogreco
Mass + Text — The Art of Comics #1: Panels, Thick Painting, and Time Collages
"Sequential artists, like architects, manipulate space and time, but where the latter uses a palette of wood, metal, stone, and glass, the sequential artist employs words and images, and is additionally constrained by working within only two dimensions.

Art of Comics is where I collect examples of the rich visual vocabulary at play in some of my favourite comics, and where I attempt to write myself into an understanding of how and why they work."



"In rapid-fire succession, here’re other examples of panels acting suspiciously like objects from the ongoing run of Young Avengers (full creator list at bottom of page):

[image]

The impact of the blow is so devastating, its aftershock unmoors something in the surrounding universe.

[image]

The panel, under control of the villain, becomes a writhing, tentacled supporting character. (Be sure to check out Kieron Gillen’s excellent writer’s notes about this issue. He mentions how the tentacles came about at the “page 19" section)

[image]

Miss America travels through multiverses by punching and kicking her way through panels.

What I learned

1. Comic book panels are snapshots of time. Layering those moments atop and within each other creates a rich, polysensory experience. The expressions that help me think about this idea is
"thick painting" and “time collages."

2. You can think of panels as either holes punched in space, or mass. The latter idea opens up the possibility of playing with a queer sort of 2D-physics that makes sense only within the confines of the page, allowing for visual experiments based on the physical properties of represented mass, such as shadows, reflections, etc. That visual complexity, of course, adds to the “thick painting" effect, which heightens the sense of being completely absorbed within a narrative."
time  comics  emmanuelquartey  2013  graphicnovels  sequence  storytelling 
july 2013 by robertogreco
On Comics in the Classroom. // Dylan Meconis
"So educators can no longer rely upon the sheer novelty of the medium to trick children into ingesting educational material. And educational publishers can no longer rely on the trendiness of the novelty to sell books to teachers desperate for a quick ‘n easy way to fool those “reluctant readers” into sitting through class. The fact is that your average school kid is more likely than their teacher to be qualified to distinguish between a genuinely good educational comic book and a bad textbook in hastily applied comic book drag. And that’s a real stumper for the average educator who’s trying, with severely limited amounts of time, money, and knowledge, to figure out what to order for their classroom this year that will keep the children from murdering each other.

It’s unfortunately up to teachers to try reading some comic books themselves so that they can develop their own smell-detectors when it comes to quality…"
novelty  silverbullets  engagement  respect  children  teachingreading  dylanmeconis  2012  books  quality  graphicnovels  comics  reading  teaching 
july 2012 by robertogreco
prosthetic knowledge • One Page Graphic Novel: The Thames Megalodon The...
The above image appears to be some kind of map, but is actually an attempt to tell a big story within one frame. In a way, it is a game of narrative, as there is a list of important points to make as you guide yourself through it.

From the creaor, Henry Flint:

"Welcome to a new story telling medium… the One Page Graphic Novel. Is this a gimmick? Yes, probably.

Keith is a dustman who is shot into the future by a Time Vortex. He meets three companions and they start an epic adventure and It’s up to you to fill in the gaps."

A higher resolution version of the image can be found at Henry’s site here [click on the map]"

[See also: http://henryflint.wordpress.com/2012/01/20/one-page-graphic-novel-2/ ]
mapping  maps  comics  henryflint  boardgames  games  srg  edg  classideas  storytelling  graphicnovels 
january 2012 by robertogreco
Interview with Chris Ware Part 1 of 2 « The Comics Journal
"This interview was conducted in front of a live audience in May 2010 at Komiks.dk, the international Copenhagen comics festival. Ware was an official guest of the festival and his visit coincided with the Danish publication of Jimmy Corrigan: The Smartest Kid on Earth. I concentrated on that book, but also tried to address more general issues in Ware’s work and extended the discussion to his current books.<br />
<br />
I found it an inspiring talk, to the extent that I went a wrote an essay on the book, posted nearby. My thanks to Mr. Ware for graciously accepting to do it, and for sitting through what was no doubt an extended ordeal for him.<br />
I am grateful to Henry Sørensen for transcribing the interview."<br />
<br />
—Matthias Wivel<br />
<br />
[Part 2:  http://classic.tcj.com/alternative/interview-with-chris-ware-part-1-of-2/2/]
comics  chrisware  interviews  2011  creativity  graphicnovels 
april 2011 by robertogreco
The Nerdy Teacher: Stranger Than Fiction?
"took me 2 years & tons of leg work to create a Graphic Novel Class. (officially Pictorial Lit because community might be bothered by class w/ word graphic in it.) I saw a hole in curriculum for certain group of students & thought a class that had different offerings would appeal to them.<br />
<br />
I teach Bone by Jeff Smith as an Epic Novel comparing it to The Odyssey, The Lord of the Rings & Star Wars. I also teach Persepolis by Marjane Satrapi, Maus by Art Spiegelman & graphic versions of Poe & Twain Short Stories. I also do a cool Dystopian Novel Unit using Watchmen, Dark Knight, V for Vendetta & Kingdom Come. Our textbook is Scott McLoud's Understanding Comics. It's been an an exciting class that is run no differently than any other literature based class. I'm constantly tweaking it & is better this year than it was last. It's time for curricula to change around the country. No longer are classics of my youth (high school in 90s) the classics of today's classroom."
fiction  teaching  classideas  graphicnovels  comics  literature  tcslj  reading  education  engagement 
december 2010 by robertogreco
Announcing SVK: an experimental publication by Warren Ellis, D’Israeli & BERG – Blog – BERG
"What is SVK?
It’s going to be a very beautifully-printed object – a graphic novella, drawn by one of our very favourite artists – Matt “D’Israeli” Brooker – who Warren collaborated with on “Lazarus Churchyard” back in 1991. I think I’m right in saying it’s their first major collaboration since then…

We can’t tell you too much more just yet, as they are both currently hard at work on it, but Warren describes SVK as “Franz Kafka’s Bourne Identity”.<

Brilliant.

It’s also a story about looking, and it’s an investigation into perception, storytelling and optical experimentation that inherits some of the curiosities behind previous work of the studio such as our Here & There maps of Manhattan.

For us – it’s also an investigation into new ways to get things out in the world, and as a result we’re talking about SVK now because we’re looking for people, brands and companies who would like to be in the SVK project… "
berg  warrenellis  design  comics  graphicnovels  berglondon  mattjones  hereandthere  kafka  bourne  bourneidentity  looking  observation  towatch  storytelling  perception  noticing  communication  publishing  svk 
december 2010 by robertogreco
Where Is Art Now? Leaving the art world to decide what art is doesn’t resolve the issue of quality...: Observatory: Design Observer
"we need to put more emphasis again on the visual in art, & it’s clear that many young artists with visual talent have decided to ignore the art world’s weary, self-serving conceptualist strictures & just go ahead and make the art they feel like making. They want to create optical art experiences of their own. By paying too much attention to the extremes of high or low we run the risk of undervaluing what’s happening in the densely populated middle — graphic novels, graphic design, illustration, low-cost film-making — where the expressive possibilities of the visual are still embraced with conviction. This, rather than art scene-mediated art, is the real center of visual culture in our time. Are we overlooking great work only because we have been instructed for so long to assume that anything presented outside the art world’s walls must be inferior?"
art  designobserver  rickpoynor  glvo  visual  conceptualart  graphicnovels  design  illustration  filmmaking  culture 
december 2010 by robertogreco
Children’s Books - The Little Prince - By Joann Sfar - NYTimes.com
"Indeed, Sfar’s comic may well appeal to real kids more than the original does. Its philosophical pronouncements, while wise as ever, are gently embedded in the story rather than acting as punctuation marks on each short chapter. Sfar transforms Saint-Exupéry’s voice — still a bit stuffy for kids, a bit snide for adults — into a living person, who dearly loves his Little Prince. (One effective sequence, invented by Sfar, has the Prince leaping from atop the plane in a joyous somersault to play with a delighted Saint-Exupéry.)"
antoinedesaint-exupéry  saint-exupéry  thelittleprince  graphicnovels  books  classideas  2010  joannsfar 
november 2010 by robertogreco
The Center for Cartoon Studies
"The Center for Cartoon Studies (CCS) offers a two-year course of study that centers on the creation and dissemination of comics, graphic novels and other manifestations of the visual narrative. Experienced and internationally recognized cartoonists, writers, and designers teach classes. The school is located in historic downtown village of White River Junction, Vermont, in the old Colony Surprise Department Store."
academia  graphicnovels  comics  drawing  colleges  education  schools  art  cartoons  illustration 
april 2010 by robertogreco
Iran's Post-Election Uprising: Hopes & Fears Revealed [Persepolis 2.0]
"Disclaimer: The authors of Persepolis 2.0 were inspired by the work of Marjane Satrapi. This does not imply, however, that the views expressed here reflect her own."
persepolis  iran  activism  graphicnovels  comics  culture  art  politics  remix  2009 
july 2009 by robertogreco
Comics in the Classroom: 100 Tips, Tools, and Resources for Teachers | Teaching Degree.org
"Gone are the days of children sneaking comics past diligent parents and teachers watching out for sub-par literature. The comics of today not only have plenty to offer, they are gaining well-deserved recognition and awards. Take advantage of the natural affinity children have for comics and use them as a powerful teaching tool in your classroom. The following tips, tools, and resources will get you started."
comics  teaching  schools  education  curriculum  tips  books  digitalstorytelling  literacy  learning  reading  graphicnovels 
july 2009 by robertogreco
The Comic Book Project
"arts-based literacy and learning initiative hosted by Teachers College, Columbia University with materials published by Dark Horse Comics. The goal of the project is to help children forge an alternative pathway to literacy by writing, designing, and pub
children  comics  culture  education  learning  literacy  graphicnovels  writing  teens  projects 
may 2008 by robertogreco
Shake Girl, The Graphic Novel
"Shake Girl represents a massive collaborative effort from 17 people dedicated to completing a graphic novel in just a few weeks. It was finished in early 2008 and is now available online for free."
comics  culture  curriculum  graphicnovels  stanford  writing  collaborative  collaboration  learning  books 
may 2008 by robertogreco
The Invention of Hugo Cabret - Diary of a Wimpy Kid -- New York Magazine Book Review
"As barriers to the acceptance of mainstream graphic storytelling are falling, two writers—Brian Selznick, author of The Invention of Hugo Cabret, and Jeff Kinney, creator of the “Diary of a Wimpy Kid” series—have seized on the shift in young peop
books  comics  reading  children  teens  youth  graphics  novels  graphicnovels  illustration  manga  trends 
april 2008 by robertogreco
WOWIO: Free Books + Free Minds
"only source where readers can legally download high-quality copyrighted ebooks from leading publishers for free. Readers have access to a wide range of offerings, including works of classic literature, college textbooks, comic books, and popular fiction
PDF  reading  olpc  ebooks  e-learning  books  comics  audiobooks  free  literature  graphicnovels 
january 2008 by robertogreco
Graphic novels
"This graphic novels resource has been created to illustrate the extent to which graphic novels can engage readers and how they can be used to encourage literacy."
comics  literacy  reading  teaching  curriculum  graphicnovels  storytelling  writing  literature  students  schools  books  pedagogy  learning  education 
april 2007 by robertogreco
The Hall of Best Knowledge - a photoset on Flickr
"Can one noble genius single-handedly educate all of mankind? Although not previously possible, the answer is now most assuredly “yes”. The author of Hall of Best Knowledge, blessed with an almost unnatural intellect and refinement, bravely battles…"

[See also: http://www.amazon.com/Hall-Best-Knowledge-Ray-Fenwick/dp/1560979100 AND http://rayfenwick.ca/#467013/Hall-of-Best-Knowledge AND http://drawn.ca/archive/tag/ray-fenwick/ ]
art  design  drawing  humor  humorart  comics  graphicnovels  academia  philosophy  rayfenwick  typography  illustration  flickr 
february 2006 by robertogreco

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