Exercise 5.1: Reviewing your own work
For this exercise, I went back through my work over this unit and selected pieces that spoke to me. I didn't really include any of my sketchbook work, as I've tended to use my sketchbooks more as a working book than a normal sketchbook for this unit. I also didn't want to include any written elements/scripts. I placed the images onto a page, opting for a grid-like structure.
As a 'portfolio on a page', I am pretty pleased with it, I am starting to see a common feel to the work and I hope that that means a style as part of a stronger creative voice is emerging.
Research 5.1: Comic Submission Guidelines
I reviewed the comic submission guidelines, which was a little tricky as a number of the links provided in the exercise text were out of date or broken completely. I also managed to find submission guidelines for 2000AD and Avery Hill Publishing too. The task asked me to summarise (in under 200 words) the types of visual and narrative content of the companies producing the kind of comics that interested me:
Throughout my notes, publishers that piqued my interests attracted me. I was not attracted to the idea of 'production line' comics. Those that did relate to established IPs I that enjoy like Doctor Who or computer games.
The publishers that most interested me were those that seemed to embrace individuality. Especially ones where writer/artists or established creative teams were the focus. I like the idea of being in control of the work and being self-sufficient.
I liked the opportunity to create non-fiction as well as fiction. I also noted that making comics that appeal to younger readers interested me. I got the sense that I wanted to make comics that told people's stories (directly or allegorically). I was very conscious that I wanted to have the opportunity to express my own lived experiences.
Finally, I realised that rights ownership is very important to me. Publishers that let creators retain their copyright and other IP were far more likely to make me submit a pitch. Looking at the most appealing publishers, I noted that they would all give me an opportunity for variety.
Research 5.2: Visual Language
For this section of the exercise, I was to research a selected contemporary graphic novel from a list and research the artist. Finally to produce a list of keywords that reflect the visual language of the chosen artist, as well as a 200-word description. I have chosen to research Emily Carroll, author of "Through the Woods" [1]:
Looking at the body of work that I could find, particularly the aforementioned graphic novel, the keywords that describe her visual language are:
Horrifying
Charming
Elegant
Layered
Sinister
Flowing
Unseen
Grotesque
Carroll roots her work in her ability to depict the horrific. She does not need or resort to explicit horror. She understands the truth that what is not seen is usually scarier than what is. Her real ability is to be able to tap into the primal fears that humans possess.
Her work thrives in contrast. The layers of her visuals mirror the layers of her psychological storytelling. Carroll is also able to use text in an open way, often using it to aid the composition or pace of her stories.
She has also developed a visual vocabulary. She uses dark, sunken or glassy eyes, long tendril-like features and grotesque shifting features. She is also an expert in using colour as a metaphor, most explicitly in the short story "His Face All Red". These techniques allow her to communicate a lot of information very efficiently.
From the introduction of Through the Woods [2] and Carroll's interview about Speak [7], I get the sense that a lot of how she depicts the stories as well as the content has links with her own past fears, trauma and experiences. Whilst she doesn't make her work autobiographical she does appear to put a lot of herself into them. I wonder if this makes her work cathartic in some way.
References
Anderson, L. and Carroll, E., 2019. Speak. [ebook] Hodder Children's Books. Available at: https://www.amazon.co.uk/Speak-Graphic-Laurie-Halse-Anderson-ebook/dp/B07PY4MCM1/ [Accessed 10 August 2021].
Carroll, E., 2015. Through the woods. 1st ed. Faber & Faber.
Carroll, E., n.d. Countess. [image] Available at: http://emcarroll.com/art/countess12.jpg [Accessed 10 August 2021].
Carroll, E., n.d. EM Carroll Art & Comics. [online] Emcarroll.com. Available at: http://emcarroll.com/ [Accessed 10 August 2021].
Hunter, G., 2015. Frontier #6 | The Comics Journal. [online] The Comics Journal |. Available at: http://www.tcj.com/reviews/frontier-6/ [Accessed 10 August 2021].
McDonnell, C., 2013. Artist of the Day: Emily Carroll. [online] Cartoon Brew. Available at: https://www.cartoonbrew.com/promote-article/emily-carroll-83553.html [Accessed 10 August 2021].
TeachingBooks, 2019. Meet-the-Illustrator Recording with Emily Carroll. [podcast] TeachingBooks Podcast. Available at: https://www.teachingbooks.net/book_reading.cgi?a=1&id=17289 [Accessed 10 August 2021].
Post's cover image © Emily Carroll used under educational fair-use policy
Comments