Monday, May 25, 2009
I don't have an image of a recent abstract comic, but I thought I'd embed my abstract animated cartoons. This is a series of four abstract cartoons by me (Mark Staff Brandl), originally made in 2001, in collaboration with Mustafa Kocabeyoglu.
Saturday, May 23, 2009
Abstract 17 page 6 was a 6 page experiement it starts here. I would be interesting in seeing what people have to say about it. I was interested in breaking up and spreading out comic elements over serveral pages.
Also, seeing the diversity of abstract comics has been really inspiring!
Thursday, May 21, 2009
Here's another page I tried out from my earlier idea of taking the fight sequences out of Lone Wolf and Cub and removing the figures.
I'm not sure if this one is as effective since I left the sound effects flashes and the flying stick. Thoughts anyone?
I'm having so much fun with these, I think I'll make a little mini comic of them.
I'll keep you post when I'm finished.
Wednesday, May 20, 2009
pages by children, from the digital archive of a collection assembled by Rhoda Kellogg:
Tuesday, May 19, 2009
Monday, May 18, 2009
About the Loulou & Kiki Picasso expermiment that I mentionned earlier, I though it was a little cold, although very interesting. In a single page of multiples close up frames, it presented a surgical operation. There was no angle variation, no climax, no suspense.
It was pretty clear to me that this was abstraction, or at least an attempt at abstraction (from a storytelling viewpoint). A relatively logical progression of action. I thought that, even with those elements removed, something survived, something that's specific to comics. I thought that our medium had to somehow distinguish itself from a series of abstract images, like, let's say Andy Warhols' Marylin faces, that just don't "work" for me as comics. It's a series of images, independant from each other, with no other link than the medium. I don't see it as comics in any other way than something to ponder about.
A) A comic panel is read quickly. If I have a big book to read, I don't have the time (or interest, it would be another experience altogether) to decipher each image. It has to be understood pretty instantly to allow fluid reading.
C) From reading each panel is generated what I call a movement effect, in a way similar to animation. With the notable difference that in animation, there is an actual illusion of movement involved that relies on the phenomenon of retinal persistance. Only a certain quantity of images per millisecond can be processed by the retina, resulting in a near-perfect illusion of movement.
It is not necessary to understand the mechanics to produce it (ultimately, understanding it too well can be even an obstacle). This ballet technique can be aquired by simply reading comics regularly like I did from the time I was a little kid.
I may read this movement effect in a more acute way than most, but to me, that's what's specific to comics and sequential art.
Happy blog !
Le coeur révélateur, adapted from a short story by Edgard Allan Poe, by Alberto Breccia.
Thank to Jimmy Beaulieu for english translation (bj).
here's a page by Canadian poet bpNichol, pinched from http://www.bpnichol.ca/media/images/snore_comix_number_two_drawing_bpnichol_5
Saturday, May 16, 2009
I popped one of my images from a panel that will be in the book and let it go for several derivations.
I pulled them all up in photoshop and played around with the order of them.
Finally, pulled my favorites onto a blank "page" and made this little comic.
I think this would have worked better if I'd had a bigger image, but cool nonetheless.
A couple of years ago, I did a series of monoprints, the first three of which are above. This type of clustered imagery was the starting point for my comic in the anthology. Apologies for the stitched-together scans!
Friday, May 15, 2009
Wednesday, May 13, 2009
sequencing the fuzz of spontaneous moments, stuff vs. stuff, local truths, encoded time, internal histories, the racket the moon makes!
Trying some more non-representational comics. Unfortunately, the scanner I used is really crummy so pretend that ugly green line's not there, OK?
Tuesday, May 12, 2009
I originally going to riff on this idea for 12 pages or so, but now that I was stopped prematurely, I rather like the simplicity of just 3 pages.
Sunday, May 10, 2009
Thursday, May 7, 2009
I suppose it's kind of flattering, really, that people want to jump on the bandwagon even while totally twisting the meaning of the term...
(I'll exclude Scott McCloud from that statement, because clearly he knows what he's talking about. But I'll shake my fists and, looking up at the bird's-eye-view camera, scream in my best Jon Stewart voice: "Kartalopoulooooooooos!!!!")
Wednesday, May 6, 2009
That one's been up on blotcomics for a long time. Here, though, are my first attempts at doing abstract comics digitally by remixing one of my own drawings (an approach that has been with me ever since). These are from late 2003. They were done entirely in Microsoft Paint:
The original drawing that I remixed is a page from my mini, "Yam Seal Land."
Abstract 8a A wall of text, an experiment I wanted to see what would happen if I tried using text without its usual partner in comics the word ballon. I what I think is interesting is how this changes how we view how text operates in comics, it is the image. If you're keen there is some interesting discussion in the comments.
Saturday, May 2, 2009
Abstract 11a from my third series of Abstract comics. With this series I was interested several things. The process of making Lines on paper, how that relates to reading comics. The way we read comics, how we create narrative. And how panels and gutters interact within a comic.