kevin-bacani

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My Time lapse of my comic creation of paga five .

June 20th 2020

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My Time lapse of my comic creation of page four.

June 20th 2020

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My Time lapse of my comic creation of page three.

June 20th 2020

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My Time lapse of my comic creation of page two.

June 20th 2020

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My Time lapse of my comic creation of page one.

June 20th 2020

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viewfinder

June 11th 2020

A viewfinder is a simple device that allows you to isolate or “crop” a scene within a rectangular area. You can adjust the viewfinder back and forth,

I use my viewfinder that I made out of cardboard to pick out an area or pacific items that I can use as a reference to put into my comic.

Using a viewfinder for me is a little frustrating because of how I find the viewfinder kinda useless to how I normally set up all my illustration which is a rough sketches of my ideas. So use a viewfinder doesn’t really help me but the one thing that the viewfinder did help me with is that I was able to get random shot of an area that I think could be good as an illustration or a comic panel.

Since I already had a good idea of what I want to make with my comic I just used the viewfinder to take reference pictures of the things that i need to give myself more to work from in combination of my imagination.

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comic panels.

June 8th 2020

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kim jung gi

June 8th 2020

Korean artist Kim Jung Gi was born in 1975 in the town of Goyang-Si, located in the province of Kyongki-Do South Korea.  At 19, this budding artist enrolled at a Fine Arts School, majoring in Art and Design.  He attended Dong-Eui University in Busan for three years and did his two years in the South Korean army as a part of the Special Forces Unit.  Here, he was able to memorize the array of different weapons and vehicles. 

Kim’s most notable creative asset is his memory, something he has developed over a number of years.  His ability to render extremely complicated scenes near-perfectly from memory, without the aid of references, has stretched the boundaries of what many artists believed was possible.

With his incredible Memory, creative as skill Kim’s is able to illustrates highly styles, realistic drawing by picking and mixing the things he saw in his daily life to illustrate something new, exciting and something bizarre illustration of imagination.

Most of his illustration is done in ink brushes, this create organic texture and line giving, the illustration dimension. in most of his art shows when drawing live, he commented on how much mistakes he made but he was able to use his mistakes to make his illustration realistic and alive.

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Summer project question

June 4th 2020

What is the characteristic of a non verbal comic?

First non verbal is everything that communicate but is not a word or text.

By looking at what non verbal is I could brake down what I could use to communicate with out using a words or text.

I can use body language, ton, personal items that we have like clothes, pictures, personal items and something in artistic terms it could be colour, shade, space and design.

What is the characteristic of non verbal comic?

that characteristic that can tell a narrative by facial expression, body language, ton or shading, line, character action, or space.

In my word comic is a sequence of separate images or illustration that is a higher importance is placed over on the images over text or some that can convey a story/narrative with the images as it main point of interest.

The difference form of comic I could find is comic, manga, webmanga and historical art that tell story thank to the illustration of the people in that time.

Also in technical terms film or animation could also apply as a comic. Animation and film are just a really really slow form of comic.

The difference between comic and manga is that manga is mostly black and white and comic used to be black and white doing the early form of comic but now is mostly coloureds.

Also the way they been read is different as the English and Japanese are completely different language and rule for example the way people read manga is right to left in comic it left to right because of this different it can be confusing to someone who not used to read manga and other way around. in other hand the only difference webtoon had from comic is that it mostly digital.

How do comic communicate their message?

In my experience the creator was able to communicate their comic messages by using symbolism, characters actions / characters designs and environmental settings to show the reader the overall messages of the comic and more.

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Summer project artist research.

June 4th 2020

Aidan Koch

Aidan Koch creates elliptical comics that challenge the reader to fill in the blanks of both image and storyline. When drawing her fragmentary narratives she asks, “what is the minimum information needed to move the story along?” None of her characters have names and she often whites out or removes elements to keep interpretation open-ended. Along with works on paper, she makes sculptures, ceramics, and textiles, which often incorporate recurring motifs such as artifacts from classical and ancient cultures.

Koch is the author of three book-length comics—The Whale, The Blonde Woman, and Impressions and has served as a panelist in numerous comic art conferences. Recent group shows include And Now in Dallas, TX and Hester in New York this past summer. Solo exhibitions include The Midnight Room at Open Space in Baltimore and most recently, Iris at SIGNAL in Brooklyn. 

katsushika hokusai

Katsushika Hokusai? 1760–May 10, 1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. In his time he was Japan's leading expert on Chinese painting. Born in Edo (now Tokyo), Hokusai is best-known as author of the woodblock print series Thirty-six Views of Mount Fuji (c. 1831) which includes the iconic and internationally recognized print, The Great Wave off Kanagawa, created during the 1820s. Hokusai created the "Thirty-Six Views" both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically The Great Wave print and Fuji in Clear Weather, that secured Hokusai’s fame both within Japan and overseas. As historian Richard Lane concludes, “Indeed, if there is one work that made Hokusai's name, both in Japan and abroad, it must be this monumental print-series...” While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition and left a lasting impact on the art world. It was The Great Wave print that initially received, and continues to receive, acclaim and popularity in the Western world.

Hokusai was known by at least 30 names during his lifetime. Although the use of multiple names was a common practice of Japanese artists of the time, the numbers of names he used far exceeds that of any other major Japanese artist. Hokusai's name changes are so frequent, and so often related to changes in his artistic production and style, that they are useful for breaking his life up into periods.

Sam Elston

Sam is an Essex based Illustrator raised on a steady diet of cartoons and loud music; both of those things have influenced his approach to illustration.

He like to communicate messages using block colour and bold lines to express what is being said with confidence.

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WILL BARRAS

April 1sts 2020

Will Barras is an artist, illustrator and animation director living and working in London. He grew up in Birmingham and moved to Bristol to study graphic design. Will became one of a new crop of young artists working within Bristol’s world renowned street art scene. This led to Will appearing in ‘Scrawl’ the book,  and becoming a founding member of the Scrawl collective. ‘Scrawl’ originally published in 1999 was a seminal book documenting a new movement in street art, graphics and illustration. He was chosen as one of the original artists for the collective, noted for his representations of fluid movement, unique narrative driven composition and line work. This has led Will to travel extensively, Live painting and exhibiting his paintings in Asia, throughout Europe and the U.S. Will continues to Paint and Travel, following a grueling schedule and continually evolving his style and technique.

As I look at Bill Barras work as a whole his artwork is quite surreal and made with wide range of colour effectively adding more into the surreal style in his work making his art pop as the colour bring life into each illustration, painting, and Graffiti.

in most of his piece he use a wide range of colour that can be chaotic in some artists work but in his case Barras was able to pick which colour go with each other producing wonderful surreal pieces this showed his deep understanding of colour theory and how implement each colours effectively.

Barras style reminds me of how the ocean can change into multiple different colour depending on the weather or the time of day. Like the ocean his style is quite flexible in the way that he doesn’t have to limit himself on which type of colour and illustration his need to do because of how his style work he can do anything but the downside of his multiple colour of style it some sometimes can be overwhelming and confusing that can take your attention off of the illustration.

My response

With this I tried to emulate Barras style in combination with my own digital style to see if I can implement his style to my work. Overall looking in Will Barras help me to find something that I need to work on which is colour theory, to know which colour is good to use in pacific style/theme and mood to improve my illustration and character design.

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What is human emotion

april 1th 2020

in Ancient Greek emotion were four humours the four humours were black bile, yellow bile, phlegm and blood and it said emotional health really consist of balance between all four humours if when four humours were out of balance it said boy mental and physical disease could take over by Aristotle

So Aristotle try to say it that Aristotle emotion is about finding a balance between emotion it not about having to little or too much of it.

In physiological view emotion is each emotion has a specific sort of profile in the body like certain patterns of heart rate certain patterns of muscle tension and more so emotion is a secondary to sort of bodily or physiological phenomena by William James.

But in my experience emotion is something gave by experiencing pain and emotional trauma and by experiencing shut pain I was able to find value in something great piece-full value.

What is pain?

Pain is the body warning system to protect your body from the work around you and to yourself.

But emotional pain is much more different emotional pain can be caused by anything relationship, job, self-due and more but compared to body pain emotional pain is much longer and hard to heal.

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Inkblot

March 31th 2020

Inkblot is a type of mental test for people to do is more well know for psychology and to see how the unconscious works.

I did this inkblot to see if could create character with emotion with out making a plan for any design.

Doing this inkblot excess is really effective when you trying brainstorm an idea or a character

As some time an encounter is something you never expect just like doing this inkblot, all the things I drawn in this inkblot is unexpected and something familiar.

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Dave Mckea

March 30th 2020

Looking at Mckea wide range of work his style is quite gritty and dark perfect for a graphic novel but I But the work that stand out to me the most is Dave illustration in Batman: Arkham Asylum Is An Eerie Psychological Horror.

Dave work in Arkham Asylum Is An Eerie Psychological Horror is cold, dark, foggy and realistic to the point that it seem like photographs. his was able to implement so much texture in a great effect giving each panel incredible depth and dimension giving them life and real horror.

but I do want to point out that some of the character art in the comic is too realistic compare to the background it real make the character out of place and take me out of the experience while looking at the panel. but at the same time because of how much depth the character had they pop in a dark background making the experience reading the comic much more intense.

Overall I would like experiment in same painty style as Dave Mckea in my digital illustration to improve the way I put colour and texture into my work by using self made digital brushes and taking different types of textures from the real world / my surroundings.

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Dave Mckea

March 30th 2020

Dave McKean was born in Taplow, Berkshire in 1963. He attended Berkshire College of Art and Design from 1982-86 and, before leaving, started working as an illustrator.

McKean has illustrated several award-winning comics including best-selling ARKHAM ASYLUM written by Grant Morrison, MR. PUNCH, Signal to Noise and Violent Cases all written by Neil Gaiman, Slow Chocolate Autopsy written by Iain Sinclair and his own Cages. His collected short stories Pictures that Tick recently won the Victoria & Albert Museum Book of the Year Award, and his last short film N won overall first prize at the Claremont Ferrand Film Festival.

McKean has illustrated, photographed and designed over 150 CD covers and hundreds of comic and book covers including the entire SANDMAN series. He has worked on print and film projects with John Cale, Stephen King, The Rolling Stones, Lars Von Trier and SF Said, and created ad campaigns for Kodak, Nike, BMW Mini and Smirnoff among others.

Mckean has produced much album artwork over the years and his style seems to fit well with the heavier genres. Some of McKean's clients; Paradise Lost, Machine Head, Life of Agony, Kreator, Testament and Dream Theater.

He has contributed many illustrations to The New Yorker, Playboy and other magazines, and promotional work for the films Blade, Alien Resurrection, The King is Alive, Dust and Sleepy Hollow. Also, a set of Mythological Creatures stamps from the Royal Mail. He has created concept illustrations for the 2nd. And 3rd. Harry Potter films, designs for Lars von Trier’s interactive project in Copenhagen, House of Zoon, and films and production design for Elton John Broadway musical Lestat for Warner Brothers. The National Theatre of Scotland/Improbable musical theatrical production of Wolves in the Walls opened in Glasgow and London, before transferring to New York.

He has won various awards including the international Amid Award for the best album cover of the year, one of over a 150 covers designed, illustrated and photographed since 1990, including releases by Michael Nyman, Tori Amos, Roy Harper, Delerium, Project Mooncircle, Real World, Altan, Toad the Wet Sprocket, Bill Laswell, Alice Cooper, Dream Theater, Counting Crows, Front Line Assembly, and Bill Bruford.

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Comic.

March 30th 2020

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Will Eisner

March 30th 2020

Will Eisner, (William Erwin Eisner), American comic-book artist (born March 6, 1917, Brooklyn, N.Y.—died Jan. 3, 2005, Fort Lauderdale , Fla.), created the influential comic strip The Spirit and was generally regarded as the inventor of the graphic novel . He began his career in 1936 at the short-lived pulp Wow What a Magazine!, where he met fellow artist Jerry Iger. After the collapse of Wow, the two men formed Eisner and Iger, an independent publisher that employed comic legends Bob Kane (creator of Batman) and Jack Kirby (cocreator of Captain American, the X-Men, and the Fantastic Four).

They produced a tremendous amount of comics in all genres and styles for the American, British and Australian markets, and recruited young artists such as Bob Kane , Lou Fine, and Jack Kirby. A memorable title Eisner made in this period is 'Hawk of the Seas', which originally started as 'The Flame'. The shop also created 'Sheena, Queen of the Jungle' and 'Muss em Up'. Eisner signed most of his work with Erwin Willis B. Rensie, Willis Nerr or Will Erwin at the time, and he also began his own Universal Phoenix Features syndicate.

In 1939, Will Eisner left the studio to join the Quality Comics Group, where he started out by creating comics like 'Doll Man', 'Uncle Sam', 'Wonder Man', 'Lady Luck' (with Nick Cardy) and 'Black Hawk'. By 1940, he worked on a syndicated 16-page newspaper supplement for which he created his most famous comic, 'The Spirit'.

In 1942, Will Eisner was drafted into the Army and served his country by producing posters, illustrations and strips like 'Private Dogtag' and 'Joe Dope' for the education and entertainment of the troops, which appeared in publications like The Flaming Bomb, Fire Power and Army Motors. When he returned, he resumed 'The Spirit' (which had been drawn by others in his absence) and started cooperations with young artists like Jules Feiffer and Wally Wood. He also launched new titles like Baseball, Kewpied, Pirate Comics and John Law Comics, but these never reached the popularity of 'The Spirit'.

Will Eisner founded the American Visuals Corporation, which created comics, cartoons and illustrations for educational and commercial purposes. One title Eisner revived was 'Joe Dope', a strip about a soldier he created during the war.

The work for his corporation proved so lucrative, that Eisner abandoned 'The Spirit'. Dutch editor Olaf Stoop of The Real Free Press reprinted 'The Spirit' in the early 1970s and revived the interest in Eisner's work. This prompted Eisner to create 'A Contract With God' in 1978, four short stories about life in the Bronx slums in the 1930s, told with such literary agility and graphic accomplishment, that a new comics form was born: the graphic novel.

Throughout the 1980s and 1990s, Kitchen Sink Press published Eisner's following graphic novels, like 'The Building', 'The Dreamer' (in which he describes his Spirit days, telling the tales of the time when comic artists were more like conveyor belt workers - obliged to work on pages with pre-printed panels) 'A Family Matter' and the semi-autobiographical 'To the Heart of the Storm'. Eisner continued to made graphic novells in the 2000s, this time published by DC.

In addition to his many graphic novels, Eisner adapted literary classics to comics at NBM, such as 'The Last Knight - An Introduction to Don Quixote', 'Moby Dick', 'The Princess and the Frog' and 'Sundiata'. His 'Fagin the Jew', published by Doubleday in 2003, gave a personal look Dickens' secondary character from 'Oliver Twist'. His last graphic novel was 'The Plot', an account of the making of the anti-semitic hoax 'The Protocols of the Elders of Zion'. It was completed shortly before his death and published in 2005.

Will Eisner can rightly be considered as the godfather of American comics, not only for adding 'The Spirit' to the long list of brilliant American comic strips, but especially for proving that comics can match literature and are not just a dubious means of entertainment for children (as many people thought in the 1950s). Eisner was a teacher at the School of Visual Arts in New York and wrote two standard works on the creative process of making comics, 'Comics and Sequential Art' and 'Graphic Storytelling'.

Will Eisner passed away on 3 January 2005 at the age of 87, following quadruple bypass heart surgery. He is greatly missed, but his wonderful comics and stories will live on forever.