#TraddMoore

[mmelki]

Luther Strode Commission Work by Michel Melki

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@traddmoore

[challengerscomics]

NEW for LOCAL COMIC SHOP DAY, WEDNESDAY, November 23, 2022 As much as Dal wants me to start with the release of KAMEN RIDER ZERO ONE #1, I’m going to completely ignore it in favor of highlighting the brand-new Jason Aaron creator-owned series ONCE UPON A TIME AT END OF WORLD #1, our Pick of the Week! You have got to take a look at the insanely-illustrated DOCTOR STRANGE FALL SUNRISE 1, drawn AND written by Tradd Moore!! A can’t-miss visual experience! When I was a freshman in high school, waaayyy back in 1983, I was drawing pictures of a just-announced Frank Miller project “Ronin.” Now here we are 39 years later, and Frank Miller Presents is giving us RONIN BOOK TWO. And… it’s LOCAL COMIC SHOP DAY, celebrated with several “Local Comic Shop Day” branded special issues, including 2 different Spider-Man comics, a sketch cover for Eight Billion Genies #1 (with a contest!), a Grim #1 Foil variant and more! Happy New Comic Book Day AND Local Comic Shop Day to us all! #newreleases #newthisweek #newcomics #newgraphicnovels #shoplocal #keepreadingcomics #challengerscomics #comics #comicbooks #graphicnovels #new #dontmissout #jasonarron #frankmiller #frankmillerronin #traddmoore #doctorstrange (at CHALLENGERS Comics + Conversation) https://www.instagram.com/p/ClToJZtrRhy/?igshid=NGJjMDIxMWI=

[ryanbrowneart]

Happy Eight Billion Genies 5 Day from my childhood one-armed Jabba, strong Mario, and my new muscle bird friends. DIG THOSE TRADD MOORE DAWGS! 27 story pages like usual—not 22 or 20 like SOME comics. Yes! What else? I’m so happy Japan keeps making more strong bird toys. Also, @charlesdsoule is doing an unbelievable job on these scripts and y’all should get down on it. Okay. End of post. Strong birds 4 President. #eightbilliongenies #gachimuchitori #ncbd #imagecomics #traddmoore #ryanbrowne #charlessoule https://www.instagram.com/p/CjDowtqrpHB/?igshid=NGJjMDIxMWI=

[canmom]

comics and animation have a lot in common, but one interesting difference is that arranging pictures in space rather than time means there's a tradeoff between the amount of drawings you use to show an action, the amount of space each drawing is given, and the amount of pages you cover which determines the 'pacing' of the comic.

if you slice the page up into a lot of tiny boxes to show many stages of a motion like an animation, then each panel has correspondingly less space for background details, and it may affect the aspect ratio of panels. if you give yourself space for a large splash panel, then the pace will slow.

one solution to this problem is to break the convention that a panel is a single 'frame' of action and show multiple images of a character in the same background. Kentaro Miura did this sometimes, and Tradd Moore (on here - @traddmoore) is an expert who uses it frequently (I'll reblog his spiderman comic in a minute). Kamome Shirahama, a genius at creative paneling, also uses it in a couple of places.

a similar trick will have a single background continuous across multiple panels, showing a static 'camera shot' at different times.

the limitation of these methods is that breaking convention makes the panel a little harder to process - you need to make absolutely sure you cue the reader clearly about where to enter the panel. and it requires action that involves a large movement so the drawings don't overlap. so most authors use it as a 'once in a while' thing.

an opposite approach, used in early parts of Superpose by Seosamh and Anka and Goodbye, Eri by Tatsuki Fujimoto, is to go even harder with the cinematic convention and give each panel the aspect ratio and detailed backgrounds of a film camera, taking all the space you need - Superpose opens with about two panels per page which may be very similar to each other, creating a very deliberate sense of pacing. to pull this off you need to be either extremely fast at drawing like Fujimoto, or accept your comic taking a long time to get anywhere - and you also need to be very good at placing the camera in space. you're basically drawing fully rendered storyboards at that point.

one of the interesting difficulties of comic-making is controlling pacing. if you draw many very similar panels it will convey a sense of high concentration and intensity, or a heavy atmosphere, like a long take in a film. much like in prose, if you spend a lot of pictures on something it draws attention to it. so you want to use the 'slow down' sparingly for effect.

as in animation, you're also limited by your own capacity to draw all those pictures, and moreover the space to put them. this is one reason why comics in magazines tend to be sharply limited in page count, and webcomics tend to be very slow compared to other forms of serial fiction. (perhaps manga can make heavier use of pacing tricks by virtue of cheaper printing and endemic overwork. i don't think that's the full story though.) meanwhile, when Transmetropolitan started to experiment with manga-style pacing, apparently it upset fans who felt the story progression was being diluted. when reading Transmet in one go, though, you don't even notice. what works well in an anthology of hundreds of pages may work poorly in a serial.

i think the pace of the reader is often controlled primarily by the text - at least for me I find I sometimes have a tendency to jump very quickly over panels to get to the next bit of the story and have to consciously slow myself down to make sure I don't fail to appreciate the art. so while a series of text-less panels is effective artistically, you might want some words to act as speed bumps. but too much text per picture and your comic becomes exhausting to read, like Subnormality. and you don't want to over-explain what's conveyed perfectly well by the pictures, as many older comics do.

ideally, you use your text, small panels and large panels to create a sense of rhythm. a big splash panel can act as the full stop in a sentence, or a longer take after a series of rapid cuts. negative space is an especially powerful device in the right hands: when you hit a page of Chainsaw Man or Berserk that is almost entirely white after several pages of dense illustration, a character bursting into the void, there's an immediate 'wow' effect before you even process what's happening in the illustration. (i can't seem to find the chainsaw man example i had in mind, so here's one from berserk.)

and on that note, the other thing that comics have that animation doesn't is the impact of being confronted with the whole gestalt page. in the manga I was helping Fall translate when she died, We Are Magical Boys (Bokura wa Mahou Shounen), Fukushima Teppei frequently puts one panel much larger than the others so it dominates the page, usually a close-up or full length character portrait, allowing the cuteness of their unique art style to treasure centre stage. Sandman, which I'm currently rereading, is full of elaborate page compositions, where a drawing might not even be a panel per se, but a visual element. Witch Hat Atelier is full of elaborate borders and clever compositions. just look at this...

how did she come up with that! the absolute madwoman! the right side is relatively standard Atelier (establishing shots, the main cast eagerly stepping out of their panel) but on the left, we have a set of panels falling down from above onto a large splash panel. even though this image is concurrent, the panels invite us to appreciate it in chunks, and the page as a whole has this great visual of the pages of a book, continuing the image of the previous page. (more of this on upcoming post on Atelier)

a character emerging from their panel to overlap others, breaking up the monotony of the grid and adding a sense of depth to the page as a whole, is a reliably appealing motif. also, drawing one panel borderless, so it implicitly continues behind the other panels. large areas of black and white and choices of colour saturation can convey a mood to the page as a whole.

the danger you run is always the loss of clarity. the reader must be able to tell what panels to read in what order without thinking about it. Sandman will sometimes do a double page spread where you're supposed to read across both pages, and this consistently trips me up. Dresden Codak is by an adhd author and her drive to give every page an elaborate layout is very familiar to me, but especially in Hob, it messes with the flow of the comic overall.

so every comic page, every comic, is a fascinating balance of all these factors. how to create a strong, visually interesting composition, control the pacing appropriate to tone, create a thrilling sense of rhythm... all without sacrificing clarity.

not much more to say about this as yet, it's just something I'm thinking about while trying to lay out a page of Ghost Barrier. my tendency is to generally use larger panels, and try to be creative with layouts, but you have to consider not just each page in isolation but how they relate to other pages. so to make the splash panel land, I need to contrast with a denser page immediately beforehand.

the more I make comics the more of a feel I'll get. cool medium!

[lovi23]

A quick drawing of @traddmoore's Dr Strange cause I've been obsessed lately and why not uu

[tanishsinghart]

Doctor Strange from Fall Sunrise!!

@traddmoore

"OURSELVES AND ONE ANOTHER-- WHO COULD HOPE FOR MORE?

IN MYSELF AND IN EACH OTHER-- IT'S ALL THE FAITH I HAVE."

I had A LOT of fun with each stroke that composed this piece. I really really loved #FallSunrise and it's message of the beauty of man. In a world so cruel, man persists to be kind, loving and caring. Because man recognizes that we are all we've got. The heavens are empty, the hells are ablaze herein. Let's sooth the burned.

[comiccrusaders]

#PREVIEW: DOCTOR STRANGE FALL SUNRISE #1 (OF 4) by #TraddMoore from @Marvel #comics http://ow.ly/eqcO50LJ5b9

[uncannyfantastic]

Pretty intense panel by Tradd Moore from “The New World” published in 2019. . #traddmoore #thenewworld @aleskotsays @imagecomics #comicbookpanel https://www.instagram.com/p/CFqMUlXlJ69/?igshid=wyb61dopjun9

[hushedruin]

RAMBLIN REVIEW: Silver Surfer: Black

'Silver Surfer: Black' is an epic tale with okay writing (Donny Cates mostly pulls it together but I'm still not really sure what all happens at the end) and i n c r e d i b l e artwork. This stuff is BALLS CRAZY and really carries the story. No, I didnt always know what was happening but BAI GAHD it is great to watch. Imagine a movie with an okay plot but phenomenal soundtrack and shots and people you like. It's not the A+ you wanted it to be, but DAMN if it isnt still a good time. Uh, recommended for comics fans or people who like art. Penciller Tradd Moore and colorist Dave Stewart GO FOR IT here and it's THE main selling point. I dont mean to be vague but you gotta see it for yourself. There are some incredible sequences.

[overflowvisible]

#silversurfer #silversurferblack #donnycates #traddmoore #comicbookart #marvel #cubism https://www.instagram.com/p/B4fqL4JJVkK/?igshid=1gb0sio1w1sh3

[kartoon816]

#Repost @marvel_comics_guy ・・・ #Logan #OldManLogan #DeadManLogan #VariantCover by @traddmoore #TraddMoore https://www.instagram.com/p/Bqw1IIFn3Xr/?utm_source=ig_tumblr_share&igshid=1xkpkb3ea6z0y

[balloon7]

Luther strode! Digital painting warm up!! #nevergiveup #alwaysimproveyourself #comics #superheroe #traddmoore https://www.instagram.com/p/COpxV82hF7-/?igshid=1uzaakl2lqe4r

[jamalam88]

Eighteenth Book Of The Year, Silver Surfer Black By Donny Cates #goodreadschallenge2021 #silversurferblack #donnycates #traddmoore #davestewart https://www.instagram.com/p/COhcD_igNWi/?igshid=itzofg3s9npi

[uncomicmas]

¡El Duende Verde regresa en #amazingspiderman # 850! Mira con detalle este tráiler y la Portada de @ryanottley (imagen 3 slide) . . Spider-Man alcanza otro hito este mes con AMAZING SPIDER-MAN # 850, el último número de la cautivadora carrera del escritor Nick Spencer en el título. Junto a una alineación de artistas estelar, Ryan Ottley, Humberto Ramos y Mark Bagley, esta edición monumental contará con el regreso del villano más grande de Spider-Man, ¡el Green Goblin! Uno nunca sabe qué esperar cuando este genio maníaco aparece en la vida de Peter Parker y su último enfrentamiento, en medio del reinado de terror de Sin-Eater, será uno para siempre. . “En el espíritu de todos los momentos cumbres de AMAZING SPIDER-MAN en el pasado, le ofrecemos uno nuevo que no olvidará”, promete el editor Nick Lowe. “AMAZING SPIDER-MAN # 50 te dio 'Spider-Man No More', # 300 te dio Venom, # 700 te dio Superior Spider-Man y # 800 te dio el Red Goblin. Nick Spencer y nuestros legendarios artistas de AMAZING SPIDER-MAN Ryan Ottley, Humberto Ramos y Mark Bagley traen de vuelta al Duende Verde para una historia brutal que los supera a todos. Y como si ESA historia de tamaño gigante no fuera suficiente, tenemos un trío de historias de apoyo de leyendas de Spidey del pasado, el presente y el futuro para llevar a casa que Spider-Man es el personaje más grande de toda la ficción ". . ¡Esas historias de respaldo tendrán espectaculares equipos creativos como Kurt Busiek, Chris Bachalo, Tradd Moore, Saladin Ahmed y Aaron Kuder! ¡No te pierdas AMAZING SPIDER-MAN # 850 el 30 de septiembre! . AMAZING SPIDER-MAN # 850 (JUL200608) Escrito por #NICKSPENCER#KURTBUSIEK, #TRADDMOORE y @saladin__ahmed Arte de @ryanottley @ramosland @officialmarkbagleyart #CHRISBACHALO TRADD MOORE y @aaronkuderart . . Fuente @marvel . . #spiderman #marvel #marvelcomics #peterparker #avengers #tomholland #mcu #spidey #comics #venom #greengoblin #andrewgarfield #harryosborn #blackcat #spidermanps4 #mysterio #docock #sandman #spidermanfarfromhome #spiderman2 #spiderman3 #samraimi #doctoroctopus #stanlee #normanosborn https://www.instagram.com/p/CEpgntLnm-N/?igshid=biz977xyiz78

[tanishsinghart]

"OFTEN LOST IN THOUGHT, I WONDER--

--"how do we do it?"

How does anyone SURVIVE A DAY?

MY BODY fails ME. MY MIND assails ME.

CRUELTY AND HATRED AND POWER AND FATE ALL cry OUT FOR BLOOD--TEETH CAKED RED WITH our SIBLINGS--yet WE PERSIST!

THE GALL of US!

THE COURAGE!

THE UNCANNY HUMAN VALOR IT TAKES TO WAKE AND FACE EACH SUNRISE!

EVEN STILL, SOME MAINTAIN, "MOREOVER, I'LL HAVE MERCY. BEYOND THIS, I'LL forgive."

HOW CAN I NOT BE inspired BY YOU?

I love YOU, THE unloved.

I love YOU, THE damned.

I LOVE YOU SO MUCH, MY FORLORN AND SHATTERED COMPANIONS."

This is my piece inspired by one of my favorite comics of all time: Doctor Strange: Fall Sunrise by #TraddMoore and @hmlmcolors

This piece represents all I hold sacred I'm my life. The human spirit.

We are born without reason, in a world of suffering, or pain.

Yet we persist.

We are inflicted with millions of injustices everyday.

Yet we endure.

We are given no answers.

Yet we create.

We die.

Yet we LIVE.

Humans can overcome anything. The world may seem bizarre, even scary at times, but always remember that the only thing stopping us from achieving the impossible, is us.

I love you, my forlorn and shattered companions. Let us struggle together and create love and compassion within this abyss.

The process and commentary: the background was a mix between #jackkirby and #dadaism I wanted a Stark contrast between the dadaist style (which was intentionally colored dull) and the subject in a surrealist and colorful style. This is to counter the dadaist ideal that "this world doesn't deserve art" with the surrealist ideal (as I understand it of "we shall create anyway", encapsulating the human tenacity to endure against the absurd.

@traddmoore

[stefanoperullo]

IL NUOVO MONDO --- in assoluto il #fumettodellasettimana da @saldapress_ufficiale ⚪ ⚪ ⚪ #aleskot #traddmoore #imagecomics #novitàinfumetteria #fumetteriaonline #fumetteriacaserta #comixfactory #saldapress (presso Comix Factory) https://www.instagram.com/p/CBgMDr3I33t/?igshid=qy38ok67xe88