I’ve been exploring animating comics. I’m above all in making comics that encourage the viewer to “read” animations. GIFs in comics tend to be a novelty, a background texture. These thoughts are rough. I’d love to hear what any one reading this has to say about the intersection of animation and comics.
Instead of seeing animations in that way in comics, I want people to see the arrranging of animations as a practice where the animation is an essential part how meaning arises from the sequence. As comics makers we get to be architects of time and space. I’m trying to figure out how this kind of sequencing fits into that architecture.
For example: Reading these sequences feel SIGNIFICANTLY different to me. (Click to enlarge for best experience).
My big concern is that I want people to be reading animations as “words”. (I hope to find a better way of describing this). The animations that I put together occupy a physical space on the screen and their physical relationship to each other affects the way that those “words” are read. In video there is an ever forward moving timeline. By juxtaposing looping video sequences you can embed those timelines into a larger timeline.
Embedding these animations in the grid frameworks conventionally used in comics, that larger timeline can be interacted with by a viewer along the conventionalized reading hierarchies of a given culture. That seems really cool and novel. It’s exciting to me and is the reason why I’ve been making these sequences.
I hope that these comics can expand the 1-dimensional timeline into a 2-dimensional plane where there are co-existing timelines.
(The idea of having gifs sitting side by side with unequal numbers of frames is an interesting idea to me when mixed with the idea of percieved timelines.)
These are my recent animation collage experiments. This is how I’ve been playing around with this. Some are way more successful than others at playing around with this time-space idea!
(my suggested reading practice for these comics is to move through them slowly.)
At the moment I’m trying to build a visual language out of repeating really simple marks. Nothing fancy here, it’s just important for me to note that I’m being intentional about it and that I’m trying to create newer and larger structures of communication with very simple lines. Many people know that I tend to draw intuitively. This is me trying to build on that intuition.
De momento estoy intentando de crear series de imagenes que crean su propio idioma visual.
Let me tell you, Jenn and I are keeping busy. We’ve got some new books in the works that we’re really excited to be bringing into the world at the end of March at PIX, the Pittsburgh Indy Comics Expo.
One will be a collection of Jenn’s diary comics from this January and February. She’s been working hard and I can’t wait for everyone to see where she’s taking these diary comics. I think they’re going to strike a really beautiful nerve with some people. Hope on over to her site to get a taste of some of her older comics!
Jenn also has a collection of comics and doodles that she’s made over the past year and a half that are full of color and experimentation. It’s going to be a feast for the eyes. I’m excited about the production that we’ll be doing on this one. Jenn is hoping to make a facsimile notebook. Maybe we can even sew the book as a single signature!
I’m going to be putting together my first book of the year! It’s going to be black ink printed on a bunch of different sheets of paper. I hope to make it a reading experiences that lifts the spirits and stays in your memory for a while! I’ve been soaking up the colorful zines that Monica and Souther Salazar have made over the years.
The energy in those books is so refreshing and inspiring. I hope my little book comes close to making you feel that good! It’s going to be silly and experimental and fun.
Here’s a peek at a book design I’ve been playing around with:
We’re also working on putting together an online store of Jenn’s books. You’ll soon be able to get your hands on them if you don’t live in Pittsburgh! More on that soon. For now, I’ve finished my day’s research, went to a teaching training and think it’s about time I put on my headphones to doodle…
dear diary, I want to fill you in on what’s happened since the last time we talked.
I moved back to Pittsburgh to be by Jenn’s side. We’ve been making lots of little books and spending lots of time together.
As I type this I’m settled in Pittsburgh, I live and work here again. But something big happened before I moved back.
That’s right, I finished my studies at the Center for Cartoon Studies with this fine crew of cartoonists.
Aaron Shrewsbury, Simon Reinhardt, Ben Evans, Josh Lees, Eleri Harris, Allison Banister, Will Payne, Mathew New, Tom O’Brien, Ben Gowen, Steven Krall, Luke Healy and Sara Sarmiento. (Not picture, but adored : Iris Yan)
So how did I graduate? My studies culminated in what you see below.
I challenged myself to make a book every month. and wouldn’t you know it from November through the month of May I churned 6 books. Every month I explored different terrain, but for the most part I held on tight to the 4 panel grid. I wanted to use my time at CCS to learn my comics scales. I wanted to learn first hand how rich a world of comics I could create on my own with only four panels. I’m really proud of the result. (I built 12 of these little drawer boxes.)
These comics ended up being ruminations on love, fantasy, and moments both big and small. I collaged, watercolored, doodled, and digital painted my way to my deadlines. I was hoping to create a work situation where I could blend playful experimentation with a committed publication schedule. I feel I succeeded in that.
The time at CCS was balanced between my thesis, two part time jobs and lots and lots of talking to Jenn over the phone. I missed her. I was extremely focused, but it’ll come as no surprise that by March I was getting worn down. A monthly deadline is nothing to sneeze. It can drain you. When my spirits were low I had friends and family that blew rejuvenating winds in my sails. I couldn’t have done this without you.
Since I’ve been back I’ve been up to a lot of things.
We’ve been going to a couple of little comics expositions.
We even got a chance to go back to Assemble to facilitate another comics making Crafternoon!
I’m so proud of everyone’s work in this box. It has been an honor to bring this work into the world.
We brought this issue into the world in style by celebrating its release at Copacetic Comics, along with the release of the third issue of Maple Key Comics!
I started organizing the Pittsburgh comics salon with Frank Santoro.
We meet up every month to do drawing and comics sequencing exercises, catch up with each others’ comics making, share what we’re reading/watching and drink hearty amounts of coffee. The goal of these salons is to help build solidarity across Pittsburgh’s fertile comics making community. I want to make a welcoming space where experimentation and playfulness in comics making are encouraged and fostered.
So, it’s been 8 months what are we up to now round these parts?
Well, I’m transitioning into new work teaching in the city. I’m focusing on linguistic explorations of visual language, using comics as the basis for those studies, soaking up all the work of Neil Cohn, planning some book making projects for PIX, the Pittsburgh Indy Comics Expo, traveling back and forth between Ohio and Pennsylvania to see my family and staying cozy by Jenn’s side.
That’s about it for now.
How about you, what are you up to?
Would you like a free copy of one of these colorful pocket collections?
Send a message to email@example.com!
Don’t worry Mom and Dad, you’re getting the whole suite, beautiful box and all!
My hands are zippin’ here and there as I finish my year of cartooning here in Vermont at the Center for Cartoon Studies. Can you picture the kinds of comics that these little bits and bobs will create?
Me neither, that’s why I’ve got to make them!
Last night I whipped up and printed these posters for my friend, Will Payne.
He’s working on an underground tape worm fighting ring comic right now. I thought I’d celebrate his story by making a 2 color boxing match style promo for his story, PARAFIGHT. I made 12 of these and gave them all to Will.
I used the Knockout type family for the majority of it and printed on a textweight yellow stock. Doing this, I learnt a little bit about typographic history. Particularly about the idea of how wooden type sets were designed as series before the idea of the rational typeface.
It was really fun to step up to the challenge of knocking this out, quick and dirty. I’m typically very finicky and careful when it comes to screen printing, but for this poster I let myself go to town and did away with registration marks all together.
It was nice to do this as quickly as I did, because it allowed me to learn first hand why these kinds of posters look the way they do in terms of the color interactions. With a poster like this, registration was, in the words of my printing teacher Jon Chad, like shooting fish in a barrel.
The tapeworm photographs come from Gregory S. Paulson’s online archive of electron microscope photography. The design itself is my attempt at recreating what you see when you do a simple image search on Google for “boxing match poster”.