FROM DUSK TILL DRAWN: Comics Art Studies and Graphic Narratives Composition, Workshops, Events & Zine Publishing @ Faculty of Communication Arts, Chulalongkorn University [Bangkok – THAILAND]
After several preparatory assignments [see dedicated post for details], CommArts students from the Creative Writing: Non-Fiction Comics Composition course [Chulalongkorn University, Thailand] were asked to produce their final assignment: an autobiographic comics. As mentioned in the previous post, the two main challenges were to compose a short comics without prior art training, and to write an autobiographic narrative in a country where the autobiographical genre is almost absent from local literature (and comics) as it is seen as ill-mannered in Thai culture to talk about oneself, and as shortcomings or mishaps are not to be disclosed in a context where [to save (i.e. preserve)] the face or self-image is essential. Their final and individual comics projects weren’t limited in size, length or technique; each student had to pick the best fitted format to convey his/her autobiographic narrative. The stories were composed over a period of one month, instead of two due to the pandemic outbreak. Individual comment sessions were held weekly via the Zoom platform.
Here are some of the resulting graphic narratives! More coming soon!
[All artworks are reprinted with the consent of the students, and remain their property. Some nicknames have been changed at student’s request].
Autobiographic comics by student B. (with some help from her sister).
Autobiographic (GIF) comics by exchange student Alex
Autobiographic comics by student Smile
Page 8/8 of student Smile’s autobiographic comics.
Autobiographic GIF comics by student May
Autobiographic comics by student Por (with some help from Peera Tayanukorn)
Student Por’s autobiographic comics. Click on pic to enlarge.
Autobiographic comics by student Pranang (a handheld game console format containing a long comics strip that can be scrolled manually and with a main character -Pranang’s alter ego- which can be moved up and down).
Autobiographic comics by student Jay
Page 4/4 of Jay’s autobiographic comics.
Autobiographic comics by student G.
Autobiographic comics by student Pin
Page 3/3 of student Pin’s autobiographic comics.
Autobiographic graphic narrative by student Paint
Autobiographic comics by student Plai
Student Plai’s autobiographic comics. Click on pic to enlarge.
Pages from exchange student Meg Hoogendam’s digital comics book on HSP
As of January 2020, undergraduated students at the International Programme in Communication Management [Faculty of Communication Arts, Chulalongkorn University] are able to choose between two Comics Composition sections as part of their Creative Writing curriculum: experimental/fiction comics composition and non-fiction comics composition. The latter is a new 16-week [3 credits] section open to 30 students without any drawing/art training. I’m introducing in this post the preparatory assignments of the “non-fiction comics” section, meant to facilitate the composition of the semester final project; a short autobiographic comics. The two main challenges were to compose a short comics without prior art training, and to write an autobiographic narrative in a country where the autobiographical genre is almost absent from local literature (and comics) as it is seen as ill-mannered in Thai culture to talk about oneself, and as shortcomings or mishaps are not to be disclosed in a context where [to save (i.e. preserve)] the face or self-image is essential. However, in a globalizing world and because of the “international” nature of the programme and of the students’ education [often in international schools], I considered these challenges worth facing.
The class was composed of 34 students [29 female students and 5 male students], and included 6 exchange students from abroad. All artworks are reprinted with the consent of the students, and remain their property.
ALL-SEMESTER ASSIGNMENT: GRAPHIC DIARY
On the first week of class, students were asked to acquire a notebook and draw an entry related to their daily life every day and over the complete 16-week semester. The goal was to help the students to familiarize themselves with the act of drawing and the observation of their surroundings and inner thoughts and feelings. Progress was checked in the classroom every two weeks, then online when the Faculty closed its doors due to the pandemic. At times, the graphic diaries revealed the frustration, the angst and sometimes the isolation experimented by the students during the lockdown.
Pages from student Paint’s graphic diary. In January 2020, before the spread of the Covid pandemic, face masks were already worn due to the high level of PM 2.5 air pollution.
Page from student Eve’s graphic diary. On February 3, French cartoonist Freddy Nadolny Poustochkine was our guest to talk autobiography, comics, time/space and memory, and show us pages from his own notebooks.
By student Eve.
By student Pop.
By student Plai.
By student Cheryl.
By student Anon.
By student May.
WEEK 01 ASSIGNMENT: SELF-PORTRAIT
After a first short lecture introducing non-fiction comics [autobiography, confessional comics, graphic medecine and comics journalism; with examples from Julie Doucet, Wimmen’sComix, Robert Crumb, Joe Matt, Yoshiharu Tsuge, Neeske Alexander, Jennifer Hayden and Joe Sacco), students were asked to draw their self-portrait “in situation” in a Chas Addams’ cartoon from which the upper part had been blanked out.
Left: Noisy Neighbor by Charles Addams, The New Yorker, circa 1950. Right: edited version provided to the students.Self-portrait by student Gam.
Self-portrait by student Rika.
Self-portrait by student Por.
Self-portrait by student Plai.
Self-portrait by student Paint.
Self-portrait by student Meg.
Self-portrait by student Anon.
WEEK 02 ASSIGNMENT: 10 MEMORIES
Students were asked to write down 10 memories, 10 crucial moments -positive or negative- that still impact/haunt/enlight their lives up to this day. I discussed individually with each student to know which memory he/she is eager and confortable adapting into a comics narrative [narrative/graphic potential]. Two memories are sometimes related [theme/period/figures] and were selected to be merged into one narrative. This list/thematic approach comes from Tom Hart‘s guideThe Art of the Graphic Memoir(St. Martin’s Griffin, 2018). Numerous references and resources were borrowed from his useful book.
We explored, among others, the work of German artist Charlotte Salomon and her series of nearly 800 goauches Life? Or Theatre? produced between 1940 and 1942.
WEEK 03 ASSIGNMENT: TEXT SUBSTITUTION
Each student was asked to develop -at home and in written form- his/her selected memory over an A4 page. In class, we analyzed Chris Ware’s short comics I Guess [click on link for full story] in which the written text [the sensitive memories of a child] is imposed -seemingly arbritrarily- in the captions and speech/thought balloons of a six-page Golden-Age-style superhero adventure. However, beyond the “disjunctive form of verbal/visual interplay”, some words or sentences seem to echo drawn elements and to form a braiding of motifs; Chris Ware plays here with the fact that comics readers are drawn to look for meaning in the interaction of the pictorial and the linguistic.
The three first pages ofI Guess(a.k.a. Thrilling Adventure Stories) by Chris Ware (USA) in: RAW Vol 2, #3, High Culture for Lowbrows, Penguin Books, 1991.
After the analysis of I Guess, students were asked to compose a graphic narrative using the same concept by simply imposing the text of their ‘selected and extended memory’ [A4 page] in the emptied captions and speech balloons from three pages of French cartoonist Xavier Mussat’s autobiographic comics Sainte Famille. The latter book was selected as Xavier Mussat extensively plays with visual metaphors and allegories and because these could become generative of unexpected and accidental resonances with my students’ written memories.
The three pages of Xavier Mussat’ Sainte famille [Ego comme X, 2002] I selected for the assignment. Students were provided with a version in which the written text had been removed.Page 1/3 of student G’s autobiographic text laid down over Xavier Mussat’s comics pages. Page 2/3 of student G’s autobiographic text laid down over Xavier Mussat’s comics pages.Page 3/3 of student G’s autobiographic text laid down over Xavier Mussat’s comics pages.Page 1/3 of student Dear’s autobiographic text laid down over Xavier Mussat’s comics pages.Page 2/3 of student Dear’s autobiographic text laid down over Xavier Mussat’s comics pages.Page 3/3 of student Dear’s autobiographic text laid down over Xavier Mussat’s comics pages.
WEEK 04 ASSIGNMENT: DIFFERENT TONE
In order to further explore the memory selected by each student, I asked them rewrite their text but as if written by their younger self -in a personal diary- at the age they were when the chosen event took place. The text was to be written on black and white photocopies of some pages from French-Canadian cartoonist Julie Delporte‘s pencil-color and organic diary Journal (Koyama Press, 2013).
The six pages of Julie Delporte’s Journal [Koyama Press, 2013; in French, from L’Agrume then PowPow] that I selected for the assignment. Students were provided with a version in which the written text had been removed.
The following pages show student G’s memories [to be compared with her version on Xavier Mussat’s pages above], written down as a personal diary, along with Julie Delporte’s drawings on which G added watercolor.
Text and watercolor by student G over drawings by Julie Delporte’s Journal.
Text and watercolor by student G over drawings by Julie Delporte’s Journal.
The objective of the “text substitution” and “different tone” assignments is to lead the students -without prior art training- to get a sense of the graphic potential of their stories as a comics narrative, to consider the use of visual metaphors, allegories and motifs, as well as the narrative use of color and ‘voices’, and to trigger new and unexpected (and maybe forgotten) elements to feed their narrative through additional layers.
WEEK 05 ASSIGNMENT: WAIT! STOP, YOUNGERVERSION OF ME!
Now that students have been drawing in their daily graphic diary for a few weeks, and that they have played with their written texts in relation to pictures through various substitutions, they were asked to draw their first comics (in the classroom). The assignment is to draw a comics over 4 pages with imposed regular grids, and with an imposed speech balloon (containing the sentence: “Wait! Stop, younger version of me!”) in the third panel of the first page. The balloon was borrowed from American cartoonist Jess Fink’ sci-fi graphic memoir We Can Fix It! (Top Shelf, 2013) where the author goes back in time with a time machine to warn her younger self of -and thus try to avoid- mistakes she made in her past. Students were asked to write such a meeting with their younger selves.
Cover and page from Jess Fink’ sci-fi graphic memoir We Can Fix It! (Top Shelf, 2013).Student Paint meets her younger self, pages 1 and 2 (out of 4).Student Paint meets her younger self, pages 3 and 4 (out of 4).Student Por meets her younger self, pages 1 and 2 (out of 4).Student Por meets her younger self, pages 3 and 4 (out of 4).
“Like how does something happen, and… how does it reverberate through time? And that act of memory is important, and comics are great for memory. Like even when you have a short comic, like a three-panel comic, you’ve got a past, a present and a future as soon as you look at those three boxes. And that allows you to reflect and compare times.”
We explored the interplay of Time, Space and Memory in comics narratives by Richard McGuire, Lilli Carré, Alan Moore & Dave Gibbons & Rick Veitch, Frank Miller, Kevin Huizenga, Chris Ware, Art Spiegelman, Matt Madden, Nick Sousanis and Kiriko Nananan.
WEEK 05 – SPECIAL GUEST: FREDDY NADOLNY POUSTOCHKINE
On February 03, we were honoured to welcome French cartoonist Freddy Nadolny Poustochkine as a guest. We talked time, space, the fabric/material of memory and comics art in his creative process from his autobiographical comics La chair des pommes(ego comme x) to his Cambodia-set La colline empoisonnée (Futuropolis) and his ongoing project; and of the seminal importance of (his) sketchbooks. More pictures on this dedicated post.
Guest talk with French cartoonist Freddy Nadolny Poustochkine, here discussing the importance of his sketchbooks in his creative process.
WEEK 06 ASSIGNMENT: THE MEMORY TREE
Based on works by Chris Ware and ideas borrowed from the previous lecture and Freddy’s talk, students were asked to map their memory on an A3 page, adding photographs of themselves, of related places and characters, and of artworks (posters, paintings, quotes…) echoing the emotions they experienced during the ‘life-changing’ event they will tell in comics form as their final project.
A lifetime: example of non-linear storytelling by Chris Ware.Assignment brief.Student Frongki’s memory tree.
Student Plai’s memory tree.
Student Pecky’s memory tree.
WEEK 07: ORAL PRESENTATIONS ON NON-FICTION COMICS
Students were asked to form 10 groups and to read and discuss 10 challenging non-fiction graphic novels [and zines] by introducing their classmates to remarkable features (technique, narrative voice, topic, layouts..). The oral presentations were held online, due the Covid outbreak. The books I proposed them to tackle were: Les Têtards (and zines) by Pascal Matthey and Badaboom Twist (and other zines) by David Libens, Chicken with Plums by Marjane Satrapi, Sunny by Taiyo Matsumoto, Becoming Unbecoming by Una, Piero by Edmond Baudoin, Daddy’s Girl by Debbie Drechler, Pyongyang: A Journey in North Korea by Guy Delisle, Don’t Go Where I Can’t Follow andThe End by Anders Nilsen, and Rosalie Lightningby Tom Hart. Diversity of topics, techniques, origins informed my selection to provide students with a large array of references and approaches.
The composition of comics essays in small groups was originally considered as an assignment during the semester. Sadly, due the Covid outbreak, group projects were canceled at midterm. As we weren’t yet aware of that fact, one early lecture was dedicated on [non-fiction] comics essay composition; I explained the process of creating a comics essay based on a two-pager I wrote for a special issue of KaiHuaRoh magazine with art by Ployjaploen “Bamie” Paopanlerd. I went through the various stages of composition, from the first idea [informed by numeorus influences] to thumbnailing and other schaffoldings leading to a clear non-linear narrative (with much help from the artist).
Firsthand account on comics essay composition by yours truly and with art by Ployjaploen “Bamie” Paopanlerd. And with nods to Scott McCloud, Art Spiegelman, Willy Vandersteen and Pascal Jousselin.
WEEK 08 [MIDTERM]: COMMENTS AND SUGGESTIONS
As for examples, a useful reference was Rob Stolzer‘s students work from his Graphic Narration class.
After reading the students ‘memory trees’, I suggested to each student various approaches, comics references or motifs/connections worth exploring before adapting his/her selected memory into a comics narrative.
Some comics references suggested to the students based on their “memory trees”.
Student Por’s memory tree.
Suggestion to connect the picture of the snowball and the image of the bullet holes in one picture.
Final autobiographic comics by student Por.
From “memory tree” to final comics, by student Por.
Student Plai’s memory tree.
Suggestion of using a bookshelf/strip layout as in Fred’s “Philemon”.
Final autobiographic comics by student Plai.
From “memory tree” to final comics, by student Plai.
WEEKS 09 TO 16: INDIVIDUAL [ONLINE] CONSULTING AND FINAL RESULTS
The autobiographic comics composed by the students will be published in an upcoming post! [Their final and individual comics projects weren’t limited in size, length or technique; each student had to pick the best fitted format to convey his/her autobiographic narrative]. More soon!
As part of the “Thai Culture for Communication: Graphic Narratives” course, fresh.wo.men at the International Program of the Faculty of Communications Arts (Chulalongkorn University, Thailand) were asked to compose a knowledge comics on the usually-derogatory representation of the indigenous Maniq ethnic group in Thai culture. Known as ‘Ngo Paa’ in Thai (and sometimes referred to as Negritos or Sakai), the MAniq people live in the forests of Southern Thailand and were essentiliazed as a dark-skinned traditional folktale figure. The following graphic narrative -composed by students Tiara, Prim, Name and Praewah- offers an interesting insight on this Thai population, and on the cultural biases and unfair treatments they suffered, as well as a message of understanding and hope. Because #BlackLivesMatter in Thailand too.
A portrait of Kanang, a Maniq orphan welcomed by King Chulalongkorn at the court in the early 20th century.
“During the period that Kanang lived with King Chulalongkorn, he was generally considered as the King’s adopted son (Duangjan 1988). At the court, Kanang was taught how to dance and play the part of the Negrito in the Sangthong play, and he became the regular actor of this role in performances before the king’s guests. The sensational moment in the drama is when Prince Sangthong takes off his ‘ugly’ Negrito mask to reveal his beautiful noble self. The audience was shocked to see that under the mask was a real live Ngo Paa.” Nathan Porath [“Developing indigenous communities into Sakai in South Thailand and Riau (Indonesia)”, 2003]
Bangkok, 11 February 2020. This semester for the “Imaginative Media: [How to Tell the Unutterable]” course at the Faculty of Communication Arts (Chulalongkorn University), our distinguished guest is khun Nana Wipaphan Wongsawang, founder of the Thai Consent platform which aims at providing [testimonial and illustrated] references for victims of sexual abuse who need useful materials to understand themselves better. An inspiring & challenging talk on the critical issues of sexual abuse, rape culture, consent and representation. After studying the mechanisms of Psychic Trauma and its depictions in tv series, movies, choreographies or graphic novels, our students will compose trauma-related short comics [or #Traumics] on sexual abuse, and will present them to khun Nana in a month. Later, students will also propose various [innovative] campaign ideas to promote & support the Thai Consent platform.
Also on FaceBook: Thai Consent
Thank you/merci/khopkhunkhrap khun Nana!
Khun Nana Wipaphan Wongsawang, founder of the Thai Consent platform, with the students of the International Program in Communication Management, Faculty of Communication Arts, Chulalongkorn University.
Khun Nana Wipaphan Wongsawang, founder of the Thai Consent platform, discussing issues of representation.
During the second lesson of the “Imaginative Communication” course [a Comparative Media course in which we explore the theme “To Say the Unutterable” by analyzing and comparing the depiction of Psychic Trauma in various visual media, from comics to animated & live-action movies, tv series or choreographies], I asked my Thai & exchange students at the Faculty of Communication Arts (Chulalongkorn University) to do the “Grid and Gestures” exercise developed by Nick Sousanis, professor of Humanities & Liberal Studies at San Francisco State University, and author of the groundbreaking comics dissertation Unflatteningpublished by Harvard University Press in 2015.
[Course: Imgt Comm, 2800217, International Program, CommArts, Chulalongkorn University, 20 January 2020, with 35 students]
Above and below: CommArts students at work on the “Grid and Gestures” exercise
The purpose statement for the exercise provided by Nick Sousanis is as follows:
“So here’s how to think about Grids & Gestures. Quickly, have a look at your ceiling tiles or other grid-ish things around you. If you then imagine putting these features to music, you might have regular long notes on the tiles, some shorter notes, and maybe rapid staccato beats on a ventilation grill. Ok, now come back to a comics page – and think about the idea that in comics, time is written in space. Comics are static – and it’s in the way we organize the space that we can convey movement and the passage of time. Unlike storyboards, to which comics are frequently compared, in comics we care not only about what goes on in the frame, but we care about the size of the panel, its shape, orientation, what it’s next to, what it’s not, and its overall location within the page composition. The way you orchestrate these elements on the page is significant to the meaning conveyed – there are some strong correspondences between comics and architecture in terms of thinking about the way the entire space operates together.
Having briefly thought about this, I want you to take a single sheet of paper (any size, shape will do) and drawing with a pencil or pen, carve it up in some grid-esque fashion that represents the shape of your day. It can be this day, a recent day, a memorable day, or a typical/amalgamation day. And then inhabit these spaces you’ve drawn on the page with lines, marks, or gestures that represent your activity or emotional state during those times represented. The emphasis here is to do your best to not draw things. (You can always do that later!) And also, you can leave space blank on your page – but that has to mean something. This isn’t writing where you can finish a final sentence mid-page. Every inch of the composition is important in comics – so be aware of that as well. Finally, when I do this in class or with groups, I give people about 5-10 minutes to do it, so they have to make decisions quickly. Try to give yourself a similar limit.”
Above: CommArts student at work on the “Grid and Gestures” exercise
“Grid and Gestures” by Thai student Nanz. Description: “(1) I wake up late so I started the page with the cloud shape which refers to my dream. Then I have to hurry to take a shower and prepare myself to go to the University. I go to university by BTS [skytrain] and the station is crowded. When I arrive at the station near the campus, I notice that the sky is gloomy. (2) Suddenly, it starts raining. I’m stuck at the station and I’m worried I’ll be late in class. Moreover, I’m hungry since I forgot to eat something this morning. I have to figure out the way to reach my Faculty on time. I try to book a Grab taxi but there is no response. I have to walk under the rain to try to catch a taxi. (3) Finally, I reach the Faculty and I’m in class on time. When the course is finished, I come back home and take a shower. Before going to bed, I watch a movie on Netflix. Then I go to sleep. :)”
“Grid and Gestures” by Dutch exchange student Meg
“Grid and Gestures” by Thai student Paar
“Grid and Gestures” by Thai student Ink
“Grid and Gestures” by Thai student Palmmy
“Grid and Gestures” by Thai student Por
“Grid and Gestures” by Japanese student Pure
“Grid and Gestures” by Japanese student Rika
Adapting the exercise to depict a refugee’s journey
After this first exercise was completed, I asked the students to draw a second “Grids and Gestures” page but, instead of depicting a personal day/travel/experience, they had to draw the perilous travel of Syrian refugee Rania Mustafa Ali, 20, who had filmed her journey from the ruins of Kobane in Syria to Austria.
“Her footage shows what many refugees face on their perilous journey to Europe. Rania is cheated by smugglers, teargassed and beaten at the Macedonian border. She risks drowning in the Mediterranean, travelling in a boat meant to hold 15 people but stuffed with over 50. Those with disabilities are carried across raging rivers and muddy fields in their wheelchairs.” (The Guardian).
During the 22′ footage, some students drew the “Grids and Gestures” of Rania as her narrative was unfolding while other students preferred to take some notes and draw Rania’s grid right after the end of the film.
Students watching, drawing and/or taking notes during the projection of Rania’s footage.
Student Paar drawing Rania’s “Grid and Gestures” during the projection.
Student drawing Rania’s “Grid and Gestures” during the projection.
The outcome has been positive as students focused [more than usual] their attention on the emotions and struggles experienced by the refugees, trying to capture Rania’s emotional states, and discovering -as they were drawing on a limited space- the physicality and volume of incessant ups-and-downs (hopeful/hopeless…) and turns of events (wait/treks/dead ends/returns) faced during these precarious and usually dramatic odysseys. I’ll try to find time to study the results of this experiment in detail, and see if it tends to raise awareness/mindfulness (Sati/สติ) and empathy towards refugees. A promising exercise.
Here are some of the “grids and gestures” depicting the journey of Syrian refugee Rania Mustafa Ali and composed by CommArts students:
Ranias’s journey by Thai student Nanz.
Ranias’s journey by Thai student Palmmy.
Ranias’s journey by Japanese student Rika.
Ranias’s journey by Thai student Paar.
Ranias’s journey by Dutch exchange student Meg.
Ranias’s journey by Thai student Por.
Ranias’s journey by Thai student Ink.
Ranias’s journey by Japanese exchange student Pure.
The inaugural post explaining the constraints of the #UltraVioletChallenge exercise is available HERE.
For this post, I wanted to display results by students who never pursued any drawing formation. The 3rd and 4th Year Performing Arts students of my “Imaginative Media” course accepted the challenge, and the results are again interesting and varied… and fun!
#UltraVioletChallenge: “Making Sense of Signs (and Fragments)” in-class creative assignment (“Imaginative Media” course, Thai Program, Faculty of Communication Arts, Chulalongkorn University); create a figurative comics based on an imposed abstract comics (duration: 90′). Based on a constrained comics exercise used atPierre Feuille Ciseaux international comics residency-lab.
#VforVersion(s); alteration of imposed comics pages in foreign language -to the participants- (German edition of British creators Alan Moore and David Lloyd‘s V for Vendetta, and original edition of French cartoonist Lewis Trondheim‘s Psychanalyse) by partial deletion with white-out liquid of textual elements -such as sentences, words, letters or letter parts- to form a new text in English language which would be consistent with the unaltered pictorial sequence.
Fig 1. A. – Tier from the 1988 American color collected edition of V for Vendetta by DC Comics/Vertigo (original text). B. – Tier from the 2003 German edition of V for Vendetta (V wie Vendetta) by Speed Comics, with black and white pages as serialized in the 1982 original British edition. C. – Same tier of the German edition but with partial alteration (elements of the text are whited out) by Thai student Mon to form English words and sentences. D. – Same tier as before but with Mon’s selected letters and words reassembled for ease of reading. Credits:V for Vendetta, co-created by Alan Moore (script) and David Lloyd (art) with colors by Steve Whitaker, Siobhan Doods and David Lloyd.
1. Introduction
April 2018. The 62 students of the Creative Writing for Printed Matter course (sections 10 and 11; “Graphic Writing”) at the International Program (BA) in Communication Management (Faculty of Communication Arts, Chulalongkorn University, Bangkok , Thailand) were provided with a series of imposed comics pages excerpted from the 2003 German edition of V for Vendetta (1 to 3 pages depending on section), of the 1996 edition of Lewis Trondheim‘s Psychanalyse (2 consecutive pages in French language), and of the American edition of the ongoing manga series Sunny by Japanese cartoonist Taiyō Matsumoto (2 consecutive pages).
“Ajarn [teacher], where do you find all the ideas you torture us with every week?”
Student Gam during the in-class assignment. Answer: Oupus series, OuBapo FB page, and my tortuous mind.
A remarkable example of white-out text alteration by Melissa Eddings Mancuso for Matt Madden’s online course about constraints for The Pennsylvania Academy of the Fine Arts. In a comic strip from the series Dream of the Rarebit Fiend (launched in 1904) by Silas (aka Winsor McCay), Melissa “looked for names of body parts in the original dialogue and then simply whited out the other letters,” providing us with instant poetry.
Under a “transformative constraint (which alter existing works)” students -in teams of 2 to 5 participants- were asked to do a partial alteration of the written texts, by erasing/covering with white-out liquid some textual element in order to form new sentences which would be consistent with the unaltered pictorial sequence. Additionally, students had to compose English (words and) sentences by respecting the order of appearance of the selected letters (or groups of letters). The most painstaking -if not painful- aspect of the exercise was related to the pages in German and French languages, two foreign languages that participating Thai and exchange students do not speak. If text alteration constraints aren’t new in Literature or Comics Art (see Lettrism, Tom Phillips, blackout poetry, cut-up technique, TNT en Amérique by Jochen Gerner [Fig 2], OuBaPo), the use of texts written in a language not spoken by the participant(s) seems to me less usual (as far as I know). The inability to understand the content of the foreign text and the constraint to propose an altered text in a mastered language (here English) are indeed quite a radical restrictions.
Students Pat and Nymph whiting out fragments of text from imposed pages of Taiyō Matsumoto’s Sunny and Alan Moore and David Lloyd’s V for Vendetta to create new narratives.
Even if German, French and English languages share the same Roman script (with sometimes additional letters) and if they share numerous cognates (or words with a common etymological origin) as neighboring Indo-European languages, these cognates have taken different forms (such as “colleague” in English, “collègue” in French and “Kollege” in German). Unable to use cognates (or false cognates or false friends) unless sharing identical spellings, participants are thus forced to compose English words (and sentences) with smallest units of writings like graphemes or syllables (or digraphs or larger groups of successive letters). In the first illustration (Fig 1), student Mon was forced to the radical alteration of the German sentence “Den Zorn, der Feuer vom Himmel regnen liess.“(Fig 1B; That Wrath which did rain fire from the Heavens) to compose the English clause “No lie” (Fig 1 C, D). Participants also came to appreciate (sigh) the different ratios of vowels and consonants, as well as the different frequencies of letters and syllables, in German, French and English languages… Students noted the low frequency of the vowel ⟨o⟩ in German (2.594%) compared to French (5.796%) and English (7.507%). Consequently, the newly formed English sentences tended to be quite short. Using V’s theatrical tirades (and Alan Moore’s verbose writing) was truly convenient in this regard. Let’s note here that the high frequency of the vowel ⟨e⟩ and ⟨d⟩, ⟨o⟩, ⟨t⟩) in French language will be put to good use by students Por and Jean in their hilarious story “DOT” altering pages of Lewis Trondheim’s Psychanalyse (see Fig 5). Accidentally and to the delight of the French speakers, the two students ended their narrative on an English-French false friend word (and within the purest Lewis Trondheim tradition). Quite a revealing slip of the pen, would have said Freud and Lacan.
Students Belle, Fame and Prim whiting out fragments of text from imposed pages of Lewis Trondheim’s Psychanalyse, Taiyō Matsumoto’s Sunny and Alan Moore and David Lloyd’s V for Vendetta to create new narratives.
The two main objectives of this exercise under radical restriction were: first, to prevent the participants from relying to much on familiar words and clauses that could be used without much alteration; second: to ensure that the altered text would be a complete creation with a new set of meanings, not influenced by the original content of the written text (as its meaning isn’t understood by the participants who don’t speak the language in which it is written) but mostly by their own interpretation of the visual sequences they are imposed with. The accompanying visual sequence is an additional productive constraint which led to the selection of possible themes and story-lines. The alteration of the comics pages excerpted from Lewis Trondheim’s Psychanalyse -a proto-OuBaPian comics itself using the constraint of iconic iteration applied to only two different panels (see below)- was in this respect less productive; the minimal visual “context” complicated the selection of a theme or concept (within the allocated time). However, it led to the brilliant “DOT” story by students Por and Jean (see Fig 5). The challenge was, as I said, painstaking -if not painful at times (sorry, kiddos!)- but the resulting pages were worth the effort, filled with comics poetry -if not Poetic Justice- and concert tickets for AC/DC (see Fig 20)…
Students Noinae, Paan and Boss whiting out together fragments of text from Lewis Trondheim’s “Psychanalyse”, to finish their assignment on time.
Student French Fries whitening out fragments of text from the German edition of “V for Vendetta”.
Text alteration on the German edition of “V for Vendetta”.
A Circle of Inferno in Dante’s “Divine Comedy”. CommArts students at work.
Text alteration on Taiyo Matsumoto’s “Sunny”.
Additional comments on the constraints:
The choice of V for Vendetta pages was made for several reasons: first, as a nod to the Master Class held two years ago during this course by V for Vendetta‘s co-creator and artist David Lloyd; second, the pleasure to enjoy his starck chiaroscuro technique with masterful use of negative spaces, third; to make the use of Alan Moore’s verbose script in the process of extended deletion of text; fourth, because the graphic novel V for Vendetta is sadly as relevant now than it was then, moreover in current Thai context.
Time limit for the in-class assignment was 3 hours for section 10’s teams (with all three V for Vendetta pages to be altered) and 2 hours for section 11’s teams (with only one V for Vendettapage to be altered).
As mentioned earlier, many letters are not as frequent in German or in French as in English. To alleviate their suffering, students were allowed to tamper with some letterforms but only by reduction (deletion/erasing). The leg of ⟨K⟩ could be white out to form a ⟨Y⟩; same goes for ⟨R⟩ turned into a ⟨P⟩ (or even a ⟨D⟩). The diagonal stroke of ⟨Z⟩ was turned in a typographical slash (to form the slash in AC/DC). ⟨E⟩ could become ⟨I⟩ or ⟨L⟩ or ⟨F⟩; ⟨N⟩ turned into ⟨V⟩; or “NV” into ⟨W⟩ with erasure of the first stroke and some stretch of closure. Digraphs could be transformed into punctuation marks, such as “TR” into an ellipsis (“…”).
Fig 2. Left: page from Tintin en Amérique (Tintin in America) by Hergé. Right: radical reduction (with only fragments of the original text remaining) of the Tintin page by Jochen Gerner for TNT en Amérique“.
“The main interest for me of the comic strip is the infinite possible links between text and image : a system of representation continually confronting , in a kind of alchemy, text and picture . This is the field I endeavour to explore on my own or with OuBaPo (Ouvroir de Bande dessinée Potentielle).
The idea ‘TNT en Amérique’ sprang from these remarks with OuBaPo, from exercises, experiments. I try to find new reading perspectives. I dismantle a given material to make something else of it.” Jochen Gerner (source).
The use of logograms was also allowed. With ⟨N’⟩ for “and”, ⟨C⟩ for “see”, ⟨U⟩ for “you”, ⟨R⟩ for “are”, etc. Usage of slang was permitted too. The slang shortnening “Da” for “the” was accepted as well as “De” for “the” as it remained consistent with the accent of a German character (see Fig 3: A.B. Frost‘s comics, #VforVomans!).
Lewis Trondheim’s handwriting in Psychanalyse tended to complicate the browsing of the text to find usable graphemes and words. However, some ambiguous handwritten letterforms were put at good use with some ⟨O⟩ used as ⟨D⟩ (orconversely), ⟨U⟩ as ⟨V⟩, or ⟨L⟩ as ⟨C⟩.
WARNING: GRAPHIC LANGUAGE [sic]. We do apologize for the use of graphic language in the resulting pages, but the high frequency of the letters ⟨F⟩, ⟨U⟩, ⟨K⟩, ⟨C⟩ or ⟨B⟩, ⟨I⟩, ⟨T⟩, ⟨H⟩ in German language led to the formation of some English swear words; that’s explanation I’ve decided to provide anyway… And yes, “underwear” was spelled “underware” (see Fig 22), because it’s how I pronounce it with my French accent, I guess… #PoeticLicense #PardonMyFrench #Sic
Fig 3. #VforVomans! American cartoonist A. B. Frost’s first comic: a German attempts to pronounce English-language “th” phoneme. “De man, dis horse, dose vomans!” In: Harper’s News Monthly, December 1879.
2. Results for Psychanalyse
Note on Psychanalyse. In the pages of his minicomic series ACCI H3319self-published between 1988 and 1990, then-debuting French cartoonist Lewis Trondheim produced comic strips and single-page comics narratives relying only on the repetition of a photocopied single panel or a highly limited set of different panels. For instance, in the series of strips collected under the title Psychanalyse [Psychoanalysis] (by Le Lézard Noir, and later by L’Association), each comics page is built only with 4 different panels -but duplicated and arranged following the constraint of “iconic iteration”- presenting, in close-up, the minimalist depiction of a patient discussing with his psychiatrist (kept off-panel). Our transformative constrained exercise is thus applied to comics pages built themselves on proto-OuBaPian productive constraints.
Fig 4. CLICK ON THE PIC TO ENLARGE. Two imposed consecutive pages (in French language) of Lewis Trondheim’s Psychanalyse.
Fig 5. CLICK ON THE PIC TO ENLARGE. Same pages of Lewis Trondheim’s Psychanalyse but with partial alteration (elements of the text are whited out) by Thai students Por and Jean to form English words and sentences. Their “DOT” comics, accidentally and to the delight of the French speakers, ends on an English-French false friend word (and within the purest Lewis Trondheim tradition). “Bite” usually defines the “use the teeth to cut into something” in English, but can be a (vulgar) synonym of “penis” in French language. Quite a revealing slip of the pen, would say Freud and Lacan.
Fig 6. CLICK ON THE PIC TO ENLARGE. Same pages of Lewis Trondheim’s Psychanalyse but with partial alteration (elements of the text are whited out) by Thai students Erin, Misha, PingPing, Tanya and PunPun to form English words and sentences.
Fig 8. Same page but from the 2003 German collected edition of V for Vendetta (V wie Vendetta) by Speed Comics, with black and white pages as serialized in the 1982 original British edition. V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 9. Same page of the German edition of V for Vendetta but with partial alteration (elements of the text are whited out) by Thai student Mon (and his teammates Tap, Ik, Golf and X) to form English words and sentences.
Fig 10. Same altered V for Vendetta page from the German edition but with Mon’s selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 11. Same V for Vendetta page from the German edition, altered by Thai student Nymph (and her teammate Pat). With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 12. Same V for Vendetta page from the German edition, altered by Thai student Vicky (with exchange student Marin). With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 13. Same V for Vendetta page from the German edition, altered by Thai students Tong, French Fries, Grace and Pim. With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 14. Same V for Vendetta page from the German edition, altered by Thai students Noinae, Paan and Boss. With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
NOTE: more resulting altered pages of this first excerpt are displayed at the end of this post.
Fig 16. Same page but from the 2003 German collected edition of V for Vendetta (V wie Vendetta) by Speed Comics, with black and white pages as serialized in the 1982 original British edition. V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
fig 18. Same V for Vendetta page from the German edition, altered by Thai student Nymph (and her teammate Pat). With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 19. Same V for Vendetta page from the German edition, altered by Thai students Poon (P), Poon (K) and Win. With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 20. Same V for Vendetta page from the German edition, altered by Thai student French Fries (and her teammates Tong, Grace and Pim). With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
“[V trying to get tickets for] an AC/DC concert: believable. Convincing scenario is essential in any storytelling…”
David Lloyd, V for Vendetta co-creator and artist, commenting on the previous page altered by student French Fries.
Fig 21. Same V for Vendetta page from the German edition, altered by Thai student Mon (and his teammates Tap, Ik, Golf and X). With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 22. Same V for Vendetta page from the German edition, altered by Thai students Noinae, Paan and Boss. With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 24. Same page but from the 2003 German collected edition of V for Vendetta (V wie Vendetta) by Speed Comics, with black and white pages as serialized in the 1982 original British edition. V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 25. Same V for Vendetta page from the German edition, altered by Thai students Poon (P), Poon (K) and Win. With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 26. Same V for Vendetta page from the German edition, altered by Thai student Mon (and his teammates Tap, Ik, Golf and X). With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 33. V for Vendetta page from the German edition (see original above), altered by Thai students Art, Mark, Junior and Book. With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 34. V for Vendetta page from the German edition (see original above), altered by Thai students Erin, Misha, PunPun, Earn, Tanya and PingPing. With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 35. V for Vendetta page from the German edition (see original above), altered by Thai students Gam, Mint (Si), Tip and Golf. With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
Fig 36. V for Vendetta page from the German edition (see original above), altered by Thai students Lukkaew, Prim, Fame and Belle. With selected letters and words reassembled for ease of reading. Based on V for Vendetta, co-created by Alan Moore (script) and David Lloyd (artist), DC Comics/Vertigo.
“I’m gonna die. I’m gonna die. This is too complicated, Ajarn [teacher]. I’m gonna die.”
#LetMeSeeYourEyes; substituting the dialogue of a comics/manga page with imposed lines excerpted from Norwegian cartoonist Jason‘s Why Are You Doing This? (Fantagraphics, 2005; Editions Carabas, 2004, for original French version).
BLURB!
“Great idea for an exercise (the source is impeccable, of course!). The examples work really well, and the Peanuts page shows how this principle can be expanded on and could even be used for a book-length work made up of quotes, borrowed page layouts, mash-ups, etc.” Matt Madden(February 17, 2018), cartoonist and teacher best known for his book 99 Ways to Tell a Story: Exercises in Style (Penguin), as well as a member of Oubapo (Workshop for Potential Comics), and later a French knight in the Order of Arts and Letters.
January 2018. The sixty-two (3rd and 4th year) students in the Creative Writing for Printed Matter course (sections 10 and 11; “Graphic Writing”) at the International Program (BA) in Communication Management (Faculty of Communication Arts, Chulalongkorn University, Bangkok , Thailand) were provided with a series of imposed lines excerpted from Jason’s comics Why Are You Doing This?: “So… Did you do it? / Sorry? / Was it you who killed that man earlier today? / No. No, it wasn’t. / Let me see your eyes. / All right. Follow me.” After being shown an example (Tintin in Tibet; see below) and as a home assignment, students were given one week to find a comics/manga page in which the dialogue might fit -with the least possible alteration- by substitution.
“The function of relay is less common (at least as far as the fixed image is concerned); it can be seen particularly in cartoons and comic strips. Here text (most often a snatch of dialogue) and image stand in a complementary relationship; the words, in the same way as the images, are fragments of a more general syntagm [sequence of linguistic units] and the unity of the message is realized at a higher level, that of the story, the anecdote, the diegesis […].” Roland Barthes, Rhetoric of the Image (translation S. Heath), in: Image, Music, Text, 1977.
Goals of this warm-up exercise; production of new comics pages by students without any particular artistic training; browsing of dozens of comics pages, and development of the “image reading” skill by focusing students’ attention on visual motifs in pictures and sequences; development of multimodal literacy through the combination/confrontation of visual (drawings), aural (speech, tone), linguistic (delivery of both “written and spoken” text), gestural (facial expressions/body language/postures) and spatial (spatialisation of text & sequences of adjacent panels) modes; exploration of text/image relationship (anchorage/relay); to stress out the importance of eye contact in drama.
“[Comics] doesn’t blend the visual and the verbal – or use one simply to illustrate the other – but is rather prone to present the two non-synchronously; a reader of comics not only fills in the gaps between panels but also works with the often disjunctive back-and-forth of reading and looking for meaning.” Hillary Chute, “Comics as Literature? Reading Graphic Narrative”, in: PMLA, 123(2), 2008
Page from Jason’s comics Why Are You Doing This?(Fantagraphics, 2005). Imposed lines for the exercise were excerpted from panels 6 to 12.
Example provided to the students: original (half-) page of Tintin in Tibetby Hergé; before text substitution.
Example provided to the students: (half-) page of Tintin in Tibet by Hergé after text substitution (by yours truly) of the imposed lines excerpted from Jason’s Why Are You Doing This?.
Commenting on Gunther Kress’s Multimodality, Jacobs notes that linguistic, visual, audio, gestural, and spatial elements combine in comics narratives and that, “[taken] together, these elements form a multimodal system of meaning making.” (“More than Words: Comics as a Means of Teaching Multiple Literacies”, in: The English Journal, 96(3), 2007.
1. Text substitutions by CommArts students; without any order/speech balloon alteration (except for an additional ellipsis, or “…”, in a couple of pages)
Text substitution by CommArts student Mint (Sirivadee) in a page from the manga adaptation (Titan Comics) by mangaka Jay of the TV series Sherlock.
Original page (before text substitution).
Text substitution by CommArts student Golf (Sorasak) in a page from the manga Pokémon Adventuresv.34 (VIZ Media) by mangaka Hidenori Kusaka (script) and Satoshi Yamamoto (art).
Original page (before text substitution).
Text substitution by CommArts student Ben in a Zits comic strip by Jerry Scott and Jim Borgman.
Original page (before text substitution).
Text substitution by CommArts student Prim in a page from the manga Case Closed(or Detective Conan; VIZ Media) by mangaka Gosho Aoyama.
Original page (before text substitution).
Text substitution by CommArts student Erin in a page from the Disney fan comic, or doujinshi, Disney High School (featuring Rapunzel and Quasimodo as siblings) by Morloth88.
Original page.
Text substitution by CommArts student WIN in a page from the manga Uzumaki (VIZ Media) by mangaka Junji Ito.
Original page (before text substitution).
Text substitution by CommArts (Taiwanese exchange) student Edd in a page from the manga One Piece (VIZ Media) by mangaka Eiichiro Oda.
Text substitution by CommArts student Yaiyaa (Creative Writing, 2016) in a page from the comics Batman: Blackout (“1940’s Catwoman”, DC Comics, 2000) by Howard Chaykin (script) and Jordi Bernet (pencils).
Original page (before text substitution).
Text substitution by CommArts student Mark in a strip from the webcomic Cyanide and Happiness (written and illustrated by Rob Den Bleyker, Kris Wilson, Dave McElfatrick and formerly Matt Melvin).
Original strip (before text substitution).
2. Text substitutions by CommArts students; respecting the order of the imposed lines but not their strict succession (distribution of the imposed lines before and after text retained from the original comics page).
Text substitution by CommArts student Por in a Peanutscomic strip by Charles M. Schulz. Retaining the two original speech ballons “Right” in panels 9 and 10.
Original page (before text substitution).
Text substitution by CommArts student Sean in a page from the manga Bonbonzaka Koukou Engekibu (1992) by mangaka Takahashi Yutaka. Retaining the two original speech ballons “Damn” and “Da…” in panel 3.
Original scanlation (before text substitution).
Text substitution by a CommArts student (Graphic Writing, 2015) in a page from Mickey Mouse and the World to Come: The Sinking of Illusitania (Boom! Kids, 2010) by Andrea Castellan (aka Casty). Retaining various two original speech balloons.
Original page (before text substitution).
Text substitution by CommArts student Nymph in a page from the manga Wotaku ni Koi ha Muzukashii(It’s Difficult to Love an Otaku) by mangaka Fujita. Retaining various speech ballons, and adding an ellipsis (“…”).
Original scanlation (before text substitution).
Text substitution by CommArts student Pat in a page from the webcomic Saturday Morning Breakfast Cereal by Zach Weinersmith. Retaining various speech ballons.
Original strip (before text substitution).
Text substitution by CommArts student Boss in a page from the comics Immortal Iron First issue 16 (Marvel Comics) by Matt Fraction (writer) and David Aja (penciller). Retaining the original speech ballon “Noooooo” in panel 4.
Original page (before text substitution).
Text substitution by CommArts student Poon K. in a page from the manga The Kindaichi Case Files (Tokyopop) by mangaka Yōzaburō Kanari and Seimaru Amagi (writers) and Fumiya Satō (art). Retaining the original speech ballon “I’m amazed by your work” in panel 4.
Original page (before text substitution).
Text substitution by CommArts student Tip in a page from GRUMPY CAT AND POKEY(Dynamite; writers Ben Fisher, Derek Fridolfs, Ilias Kyriazi; and artists Ken Haeser, Ilias Kyriazis, Steve Uy). Retaining various speech balloons, and with additional ellipsis (“…”).
Original page (before text substitution).
Text substitution by CommArts student Mos (Creative Writing, 2016)in a page from Superman #14 (The Invention Thief, DC Comics, 1942), by Jerry Siegel & Joe Shuster, and Leo Nowak. Retaining various original speech balloons.
Original page (before text substitution).
Text substitution by CommArts student Mon in a page from the manga Naruto (VIE Media) by mangaka Masashi Kishimoto. Retaining the original sound effect “SHWUUU” in panel 5.
Original scanlation (before text substitution).
Text substitution by CommArts student Mo (Creative Writing, 2016)in a page from Tintin and Alph-Art, inked and colorized by Yves Rodier based on (unfinished) pencilled page by Hergé. Retaining the original speech balloon (“?”) in panel 6.
3. Text substitutions by CommArts students; without order alteration, but with additional bubbles.
Text substitution by CommArts student Note in a page from Cat versus Human by Surovec Yasmine. Retaining various original speech balloons, and with additional bubbles.
Original page (before text substitution).
Text substitution by CommArts student Pitchii in a page from the webcomics Saphie the One Eyed Cat by Joho. Retaining various onomatopoeiae, and with additional bubbles.
Click on the page to reach the original webcomics.
The “Managing Creativity for Communicative Innovation” course (Communication Management, International Program, Faculty of Communication Arts, Chulalongkorn University, Bangkok, Thailand) has three main goals:
1) select, summarize and partly translate 9 Thai alternative comics, and contact a foreign publisher to get them signed abroad.
2) Publish, promote and distribute our own zine gathering the constrained comics composed by former “Graphic Writing” CommArts students.
3) Organize an exhibition of the “Traumics” (Comics on Trauma) composed by CommArts & CommDe (Program in Communication Design, Department of Industrial Design, Faculty of Architecture, Chulalongkorn University) students.
First special guest: khun Peataya Werasakwong, CEO of Kai3 (a brand of tee-shirts whose designs are extended into zines, and an indie comics publishing house), and author of the graphic novel “Pandism: Virus Panda.” ขอบคุณมากๆครับ khun Peataya!
Second special guest: Belgian cartoonist & illustrator Ephameron for an afternoon of Comics Art Appreciation (with comments and tips). Students from the International Program in Communication Design (CommDe, Department of Industrial Design, Faculty of Architecture, Chulalongkorn University) presented their Traumics (or “Comics on Trauma”) in front of Ephameron and my CommArts students in order to select the trauma-related graphic narratives to be displayed in the exhibition. Bedankt Eva! ขอบคุณมากๆครับ CommDe for inviting Eva in the first place! This project was partly inspired by the literary educational comics produced by the award-winning non-profit (and our partner) PositiveNegatives.
Ephameron giving comments and advices to a team of CommDe students presenting their Traumics (or “Comics on Trauma”).
CommDe student presenting her Traumics (or “Comics on Trauma”) to Ephameron and CommArts students.
CommDe student presenting his Traumics (or “Comics on Trauma”) to Ephameron and CommArts students.
A team of CommDe students presenting their Traumics (or “Comics on Trauma”) to Ephameron and CommArts students.
CommDe student presenting her Traumics (or “Comics on Trauma”) to Ephameron and CommArts students.
A team of CommDe student presenting their Traumics (or “Comics on Trauma”) to Ephameron and CommArts students.
CommDe student presenting her Traumics (or “Comics on Trauma”) to Ephameron and CommArts students.
A team of CommDe student presenting their Traumics (or “Comics on Trauma”) to Ephameron and CommArts students.
A team of CommDe student presenting their Traumics (or “Comics on Trauma”) to Ephameron and CommArts students.
A team of CommDe student presenting their Traumics (or “Comics on Trauma”) to Ephameron and CommArts students.
Third special guest (or rather host): Spanish cartoonist, curator & illustrator Carla Berrocaloffered us a private tour of the PRESENTES comics exhibition (Spanish Female Cartoonists of Yesterday and of Today). Discussion on the challenges (selecting pages, copyright issues, pairing different artists by themes or motifs…) offered by a Comics Art exhibition. Gracias Carla, Autoras de Cómic, and Maria & Joan from the Embassy of Spain in Bangkok. Thank you HeForShe Arts Week Bangkok, UN Women Asia and Pacific, and BACC (Bangkok Art Cultural Center)!
Third special guest (or rather host): Spanish cartoonist, curator & illustrator Carla Berrocal offered us a private tour of the PRESENTES comics exhibition (Spanish Female Cartoonists of Yesterday and of Today). Here presenting the work of internationally renown Spanish cartoonist Ana Miralles Lopez. Gracias Carla, Autoras de Cómic, and Maria & Joan from the Embassy of Spain in Bangkok. Thank you HeForShe Arts Week Bangkok, UN Women Asia and the Pacific, and BACC (Bangkok Art and Culture Center)!
At the PRESENTES comics exhibition (Spanish Female Cartoonists of Yesterday and of Today). Detail of a page by Spanish female cartoonist Maria Pascual (1933-2011).
At the PRESENTES comics exhibition (Spanish Female Cartoonists of Yesterday and of Today). Detail of a page by Spanish female cartoonist Mireia Pérez (1984-).
PRESENTES exhibition catalogue (Spanish Female Cartoonists of Yesterday and of Today). Spanish female cartoonist Núria Pompeia (1931-2016).
Writing the editorial content of our “Bang Bang You’re Dead” constrained comics zine, inspired by the OuBaPian experimental comics by Lewis Trondheim & Jean-Christophe Menu. Trying to explain, as clearly and shortly as possible, the multimodal challenges faced by CommArts students while composing their graphic narratives (using “iconic iteration” with limited sets of panels drawn by European cartoonists Pierre Alary, Sacha Goerg & Joseph Falzon specially for our “Graphic Writing” course).
Writing the editorial content of our “Bang Bang You’re Dead” constrained comics zine, inspired by the OuBaPian experimental comics by Lewis Trondheim & Jean-Christophe Menu. Trying to explain, as clearly and shortly as possible, the multimodal challenges faced by CommArts students while composing their graphic narratives (using “iconic iteration” with limited sets of panels drawn by European cartoonists Pierre Alary, Sacha Goerg & Joseph Falzon specially for our “Graphic Writing” course).
After hours to complete the editorial content of our “Bang Bang You’re Dead” constrained comics zine…
Partly translating one of the 9 Thai alternative comics selected to be presented to a foreign publisher in order to get them signed abroad.
Masterclass on “Animated Film Festivals and Markets” with Geraldine Baché, head of Animation du Monde (MIFA-Annecy) at the RENDEZ-VOUS FRANCO-THAÏ DE L’ANIMATION (Embassy of France in Thailand, in collaboration with the World Film Festival of Bangkok, Mahidol University International College, SF Cinema and TK Park). Photograph by ‘Rendez-Vous Franco-Thaï de l’Animation.’
Thai films selected at the Annecy International Animated Film Festival. During the masterclass on “Animated Film Festivals and Markets” with Geraldine Baché, head of Animation du Monde (MIFA-Annecy) at the RENDEZ-VOUS FRANCO-THAÏ DE L’ANIMATION (Embassy of France in Thailand, in collaboration with the World Film Festival of Bangkok, Mahidol University International College, SF Cinema and TK Park).
Our fourth special guest; Ms. Pimpicha Utsahajit, Executive Director of Banlue Publications & CommArts alumnus, hold a talk on leading multi-platform content provider Banlue Group, with Banlue Sarn (humour comics magazines “Kai Hua Roh” and “Maha Sanook”), Vithita Animation, Salmon Books (publisher of alternative comics among others), digital platform MiniMore, Salmon House (production house of motion contents), Banlue Books, trendy free magazine Giraffe, or The MATTER and Pixniq among many other innovative content platforms! ขอบคุณมากๆครับ Ms. Pimpicha for the inspiring lecture and case studies (character development & licensing), and sharing with us your experience and expertise in so many fields!
With our fourth special guest; Ms. Pimpicha Utsahajit, Executive Director of Banlue Publications & CommArts alumnus.
With our fourth special guest; Ms. Pimpicha Utsahajit, Executive Director of Banlue Publications & CommArts alumnus.
With our fourth special guest; Ms. Pimpicha Utsahajit, Executive Director of Banlue Publications & CommArts alumnus.
Making Small Press the CommArts way; a Taylorist approach. For reasons beyond their will, my 20 students had only 3 hours -including their zine-making formation- to produce the 300 copies of the inaugural issue of our Constrained & Collaborative Comics Zine Series “Bang Bang You’re Dead!“. Challenge almost met with 281 issues produced, whilst avoiding too many flawed copies and finger losses…
Making Small Press the CommArts way; a Taylorist approach.
Making Small Press the CommArts way; a Taylorist approach.
Making Small Press the CommArts way; a Taylorist approach.
Making Small Press the CommArts way; a Taylorist approach.
The inaugural issue of the comics zine series “Bang Bang You’re Dead!” edited & published by the students of the “Managing Creativity for Communicative Innovation” course, and collecting the experimental, thrilling & collaborative works of 8 CommArts students with European cartoonists Pierre Alary, Sacha Goerg & Joseph Falzon, under a cover by Thai cartoonist Note Piruck and with a free ‘Phi Krasue’ postcard by French cartoonist Tamia Baudouin (only for the first printing)! Limited to 300 copies, the zine will be distributed worldwide thanks to our French partner L’Association ChiFouMi! Our thanks are also due to khun Satya @Rabbit4Print, and Thai cartoonist Tunlaya Dunn for the logo design & inspiration! A word from the editorial team: “As evoked in its title, the ‘Bang Bang You’re Dead!’ zine invokes the playful yet serious aspects of constrained comics composition. Based on sets of speechless comics panels drawn especially for their Graphic Writing course by European cartoonists, 34 Thai senior students of the four-year program in Strategic Communication Management at the Faculty of Communication Arts, Chulalongkorn University (Bangkok, Thailand), duplicated, reframed, and combined the imposed drawings -with addition of textual elements- to create imaginative stories of their own. Without any particular drawing formation and facing the numerous and overlapping challenges posed by comics composition, our Faculty seniors were able to overcome the constraint of iconic iteration by thinking out of the box, using their creativity to cross formal, modal, cultural, and national borders.”
Field trip with the editorial & production team of the inaugural issue the EuroThai Comics Zine “Bang Bang You’re Dead!” at the Bangkok International Book Fair (Queen Sirikit National Convention Center). The zine was on sale at the booth of the Thai indie comics publishing house Kai3. ขอบคุณครับ khun Peataya. Followed by a visit of the booths of publishers who collaborated on our projects (Salmon Books, Typhoon Studio & LET’S Comic). ขอบคุณครับ!
The “Bang Bang You’re Dead!” zine was on sale at the booth of the Thai indie comics publishing house KAI3.
The “Bang Bang You’re Dead!” zine was on sale at the booth of the Thai indie comics publishing house KAI3.
The “Bang Bang You’re Dead!” zine was on sale at the booth of the Thai indie comics publishing house KAI3.
Copies of the inaugural issue of our EuroThai Experimental Comics Zine Series “Bang Bang You’re Dead!” have safely arrived in Belgium. The zines are now available at the comics bookstore Multi BD in Brussels.
The inaugural issue of our EuroThai Experimental Comics Zine Series “Bang Bang You’re Dead!” is now available at the comics bookstore Multi BD in Brussels, Belgium.
Second objective of the “Managing Creativity for Communicative Innovation” course: to promote contemporary Thai Comix abroad. 8 teams of students. 8 Thai comics profiles (with summary, chapters translated into English, author bio, and pros & cons of each book to fit the French market and a specific publisher’s catalogue). 8 Thailand/France Skype sessions with Serge Ewenczyk, founder of the French independent comics publishing house Çà et Là. Proud of my students who did a tremendous and critical work there! Merci Serge pour ta disponibilité et ta marque d’intérêt! ขอบคุณมากครับ to the Thai editors for the complementary copies! Now, let’s all cross our fingers and see what the Future holds for Thai Comics! (On the picture: Serge Ewenczyk & the “Loser Rainbow (by Puck)” Team).
Serge Ewenczyk & the “EverybodyEverything (by Wisut Ponnimit)” Team.
Serge Ewenczyk & the “Missed (by Tuna Dunn)” Team.
Serge Ewenczyk & the “Diner by Incense Light (by Jung)” Team.
Serge Ewenczyk & the “Romance (by Wisut Ponnimit)” Team.
Serge Ewenczyk & the “NangMai (by Teerawat Thienprasit)” Team.
The exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displayed 18 short Trauma-related comics narratives all composed by students in the Faculty of Communication Arts, the Communication Design Program (Faculty of Architecture) and other Departments at Chulalongkorn University (Bangkok, Thailand). From refugee stories to household accidents, from domestic violence to genocides (Congo, Shoah, Khmer Rouges), being fictional, autobiographic or based on victim testimonies, these narratives intend to raise awareness on social and human rights issues. Inspired by the literary educational comics produced by the award-winning non-profit -and our partner- PositiveNegatives, this project also highlights the ability of Comics Art -as a medium of fragments- to visually reveal how the minds of the victims were broken into pieces. As mentioned in the introduction to the Call for Papers for the conference Traumics: Comics Narratives of Trauma, comics -“with their syntax of panels, gutters, and pages and their use of the evocative power of image in conjunction with the precise communication of text- (…) are uniquely suited to delivering narratives of trauma.” The opening night was held on the 5th of May 2017 from 5pm until 7pm at the first floor of the Faculty of Communication Arts (Chulalongkorn University), in the presence of our guest of honour Songsin Tiewsomboon, author of famous graphic novels such as “Nine Lives” and the series “Beansprout and Firehead” & “Bobby Swingers.” The exhibition “Traumics: a Medium of Fragments for a Shattered Mind” was organized and curated by the students of the “Managing Creativity for Communicative Innovation” course, Communication Management, International Program, Faculty of Communication Arts, Chulalongkorn University (Bangkok, Thailand).
Last project for the students of the “Managing Creativity for Communicative Innovation” course; to mount the exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displaying 18 Trauma-related comics narratives composed by students at Chulalongkorn University.
Mounting the exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displaying 18 Trauma-related comics narratives composed by students at Chulalongkorn University.
Mounting the exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displaying 18 Trauma-related comics narratives composed by students at Chulalongkorn University.
Mounting the exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displaying 18 Trauma-related comics narratives composed by students at Chulalongkorn University.
Mounting the exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displaying 18 Trauma-related comics narratives composed by students at Chulalongkorn University.
Mounting the exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displaying 18 Trauma-related comics narratives composed by students at Chulalongkorn University.
“Framing – Unframing – Reframing”, or mounting the exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displaying 18 Trauma-related comics narratives composed by students at Chulalongkorn University.
Opening of the “Traumics: a Medium of Fragments for a Shattered Mind” in the presence of our guest of honour Songsin Tiewsomboon, author of famous graphic novels such as “Nine Lives” and the series “Beansprout and Firehead” & “Bobby Swingers”, of graphic designer Ms. View, and of Thai alternative comics pioneer Suttichart Sarapaiwanich (“Joe the Sea-Cret Agent”).
Ms. Tee Tanyanurak, aka Sasi Tee, visiting the “Traumics: a Medium of Fragments for a Shattered Mind” exhibition .
Visit of Thai graphic designers khun Phatchara Pantanakul & khun Kullawat Kanjanasoontree (also author of the great Gekiga-style short comics “คดีทิ้งไฟ”, or “The Arson Case” in the “LET’S Comic Forbidden” issue).
Visitors.
Visit by Thai alternative comics pioneer Suttichart Sarapaiwanich (“Joe the Sea-Cret Agent”).
Visitor.
Visitor.
Opening in the presence of graphic novelist extraordinaire Songsin Tiewsomboon (“Nine Lives” and the series “Beansprout and Firehead” & “Bobby Swingers”, and our guest of honour), graphic designer Ms. View, and Thai alternative comics pioneer Suttichart Sarapaiwanich (“Joe the Sea-Cret Agent”) and CommArts students.
With polyptych, iconic iteration, bleed, braiding, narrative use of colours, parallel timelines, palindrome-like/mirror device, loop format, and other experimental features, or being straightforward visual narratives, the 18 Trauma-related short comics composed by students at Chulalongkorn University make full use of the hybrid art form to depict the victims’ shattered and alienated minds (and bodies), in order to raise awareness on social and human rights issues (from refugee stories to household accidents, from social conformity to domestic violence or genocides; being fictional, autobiographic or based on victim testimonies). I couldn’t be prouder by the meaningful work produced by Chulalongkorn University students from various Faculties; most of them being 1st year Thai students (and with a team of European exchange students), some of them without any prior artistic formation, and creating there their first ever comics. I only wish we could have displayed more of the dozens of Traumics created over the past two years. So many were equally deserving to be shown, and they will at some point, when I find the time, over here. To all, your works being displayed or not, artists or exhibition curators from the Mngt Comm Crea Inno course, for your talent and hard work, ขอบคุณมากนะครับ! Aj. Nicolas Verstappen
Traumics (Trauma-related comics) composed by students at Chulalongkorn University.
Traumics (Trauma-related comics) composed by students at Chulalongkorn University.
Traumics (Trauma-related comics) composed by students at Chulalongkorn University.
Traumics (Trauma-related comics) composed by students at Chulalongkorn University.
Traumics (Trauma-related comics) composed by students at Chulalongkorn University.
Traumics (Trauma-related comics) composed by students at Chulalongkorn University.
Traumics (Trauma-related comics) composed by students at Chulalongkorn University.
Traumics (Trauma-related comics) composed by students at Chulalongkorn University.
Well-deserved rest after 4 intensive months of work! ;^)
“Nailed” is a silent graphic narrative by Thai student Rattanakorn (Mim) for the IMGT COMM course (2800217), November 2016. In response to a video (see below) where a young child is the victim of a cruel joke perpetrated by adults, her comics captures how the child’s inner world is shattered by the traumatic psychological abuse and how it will affect his late life.
Description of the Imaginative Communication course: “Methods of conversing emotions, feelings, ideas, values, beliefs and meaning of life through the languages of the imaginative world in the form of poetry, music and songs, literature, drama, film or other creative works of Thai and foreign artists; relationship between science and art of communications; media design for imaginative works; analysis of images and narratives.” Thissemester’s theme: “Psychic Trauma; To Say the Unutterable”. Communication Management, International Program, Faculty of Communication Arts, Chulalongkorn University.
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