Late to any party, I've just finished Neil Cohn's 2013 paper, Navigating comics: an empirical and theoretical approach to strategies of reading comic page layouts, a thorough and sharply analysed research on the principles that direct readers of any level through a comics page. I suspect most advanced readers or makers of comics already have…
Re: what’s comics and what isn’t, Chris Butcher wrote an insightful piece on trench digging and Othering within mainstream comics:
The success of [the early manga publications in the West was] the proof to the theories that comics could be for everyone, for women and for girls especially, and could sell in numbers that were comparable to how they sold overseas. […]
So how did the rest of the comics industry react to this sea-change? In the pettiest way possible of course, by othering the success of that material as much as they could. “Manga aren’t comics,” went the discussion.
Received a letter in the mail, informing me that a creditor had done a financial background check. I wish I got more of these, the credit company line the envelopes in a deep dark blue that I use in my collages whenever I can. When I was at the state monopoly liquor store I grabbed…
If there were no edges to your paper, how would you draw? Where would you start? Restraints can be productive or confining; chosen or imposed. Know where the edges of the paper are (even if it's a canvas or a digital file :-P )
Well, I’m taking the weekend off. Going to a wedding in that woman’s family, and I’ll save my phone battery for drunken emergency calls. I leave you with this until Monday, though:
Discuss (hint: it’s not about “freedom of expression”).
1. Height 2. Width 3. Montage 4. Spread (from the artist's mind to the reader)