Non-Fiction Comics Composition Course [part 1/2]

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.

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’s Comix, 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.

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 guide The Art of the Graphic Memoir (St. Martin’s Griffin, 2018). Numerous references and resources were borrowed from his useful book.


WEEK 03 LECTURE: CHARLOTTE SALOMON

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.

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.

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 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.

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, YOUNGER VERSION 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.



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.”

Art Spiegelman, in: Conan, N. (2011). MetaMaus: The Story Behind Spiegelman’s Classic; radio interview, Oct 5.

WEEK 05 LECTURE: COMICS, TIME AND SPACE

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 experimented 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.

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 and The End by Anders Nilsen, and Rosalie Lightning by Tom Hart. Diversity of topics, techniques, origins informed my selection to provide students with a large array of references and approaches.


WEEK 08 [MIDTERM] LECTURE: COMICS ESSAY COMPOSITION

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).


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.



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!

Because it’s sweet… Thanks mademoiselle Plai!

Refugee Narratives: 10 Pantomime Performance Videos

One of the main creative assignments of the “Imaginative Communication” course [a Comparative Media course in which we explore the theme “How to Tell 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] is for the students to compose and produce a group performance based on refugee narratives. After visualizing refugees’ journeys graphically [see previous assignment “Refugee’s Grid and Gestures“], watching some related footages [Charlie Chaplin’s 1916 The Immigrant, Wilfredo Rivera’s immigration choreography The Golden Bird Cage, or PositiveNegatives’ animated zoom-comics North Star Fading], reading/watching comics and webcomics [Shaun Tan’s The Arrival, Marc Ellison and Didier Kassai’s immersive graphic novel House Without Windows, or our former students’ refugee comics dice], discovering refugee installations [architect Mohamad Hafez’s multi-media installation Unpacked] and analyzing and comparing Marjane Satrapi’s graphic novel and animated feature Persepolis, students were asked to compose a live pantomime performance of 3′ to 5′ [depending on the number of team members]. The constraint was that their refugee characters had to remain silent, voiceless, muted by the trauma, unable to speak the language of their ‘host’ country, or fearing to speak their own language and have their illegal/foreign status revealed.

Unpacked
Unpacked multi-media installation by Syrian-born architect Mohamad Hafez.
The Arrival Shaun Tan
Page from the wordless comics The Arrival (2006) by Shaun Tan

Due to the COVID-19 crisis and while productions were well underway, performances couldn’t be presented live anymore for obvious safety reasons. Early March, students were asked to film and edit their performances as video footages so that their works could be screened online. On Wednesday March 26 in a virtual classroom, our 40 students introduced and displayed their video performances which were evaluated and commented by songwriter, performer and former [Performing Arts] CommArts student, Namtarn Jinwara (KhopKhunKhrap!) and yours truly.

I am really proud of these works, sometimes created under unexpected COVID-related logistic constraints. The brave team of exchange students -while scattered throughout the world to reach safely their native countries- managed to create an imaginative piece on their way home or while held in quarantine facilities… Below, you can discover film stills from the students’ projects, but also some of the actual performance videos. Here are the numerous choreographies, but also some creative short drama films, which sadly -and timely- echo the ongoing and future displacements of refugees caused by Climate Change, COVID-19 and other crises. Ajarn Nicolas Verstappen


ZZ 10
Film still from the refugee performance video Hope of Dawn by students Pim, Pranang and Milk [with performers from the Faculty of Arts, Chulalongkorn University]. A journey from Syria (contemporary dance) to Germany (ballet).
Z 10
Film still from the refugee performance video Hope of Dawn by students Pim, Pranang and Milk [with performers from the Faculty of Arts, Chulalongkorn University]. A journey from Syria (contemporary dance) to Germany (ballet).


Film still from the refugee performance video by students Paar, Palmmy and Tukta
Click on pic to launch video.

Z 05
Film still from the refugee performance video Disconnected by students Ben, Eve, Frongki, Pecky and Plai


Z 08
Film still from the refugee performance video Lost Boy by students Gam, Ink and Por [with perfomer Cathrin Ballmer]

Z 01
Film still from the refugee performance video by students Beam, Eye, Jean and Rika
Click on pic to launch video.

Z 02
Film still from the refugee performance video Life of a Little Refugee by students Bee, Fay, France, May and Mine


 
Z 03
Film still from the refugee performance video by students Earth, June, Lily, Praew and Prim
Click on pic to launch video.

Z 04
Film still from the refugee performance video by students Boat [perfomer], Jinny, Pop and Smile
Click on pic to launch video.

Z 06
Film still from the refugee performance video by exchange students Alexandra, Meg, Núria and Pure
Click on pic to launch video.

ZZ 07
Film still from the refugee performance video by students Ellie, Ice [performer], Nam, Nanz and Pin
Z 07
Film still from the refugee performance video by students Ellie, Ice [performer], Nam, Nanz and Pin
Click on pic to launch video.

ZZ 09b
Film still from the refugee performance video by students Paar, Palmmy and Tukta
 
Z 09
Film still from the refugee performance video by students Paar, Palmmy and Tukta

FURTHER COMMENTS

Namtarn’s comments and mine were usually revolving on issues of clarity and meaning. Some performances could have been made more engaging and relatable through the narrative and recurring use of simple objects [as in the Dardenne brothers’ films] or indentifiable gestures developed as motifs. Another point was the lack of “feeling of space” which might be a crucial element in refugee narratives (belonging, borders, in-between…). Most performers move through wide empty rooms and one reason is, of course, related to COVID-19 constraints: most teams couldn’t find a safe, fitting and available location for the shooting. Yet, as we discussed during the session, there were some simple options. I mentioned the German Expressionist films‘ painted set designs which could be emulated with some black and white paints on cardboards.

   Another reference provided was the set design of Lars von Trier’s 2003 feature film Dogville. Bold white lines on the floor may end up being quite effective.

Questions were also raised about production as I felt some works were slighlty too slick, sometimes missing the roughness of the refugee experience. On the other hand, some students were concerned that the quality of their videos had been impaired by production problems caused by the COVID crisis. I mentioned that improvisation and DIY approaches actually benefited the production; and I mentioned the DIY aesthetic of French director Michel Gondry on numerous music videos and movies, and mostly his lesser-known 2008 Be Kind Rewind feature film. Some excerpts were screened: The Chemical Brothers’ Let Forever Be MV, The White Stripes’ The Hardest Button to Button MV,  Massive Attack’s Protection MV or Björk’s classic Bachelorette MV.  

As a conclusion, I mentioned that all performance videos had a grim and dark tone and that other approaches were possible. Thinking about a Martin Parr aesthetic, I mentioned Dario Fau’s colorful and caustic music video Dégueulasse by Caballero and JeanJass. But all in all, I’m a #ProudAjarn, as I was so impressed by the involvement and dedication of my students on this meaningful project in a time where the fate of refugees is even more thrown into jeopardy, and invisibilized in the main news outlets. Ajarn Nicolas Verstappen 


END CREDIT
I’m feeling relieved you didn’t state the opposite. ;^) Love you too! Stay safe!

#MeanwhileHereComics #การ์ตูนที่นี่ Challenge

As an individual assignment for the “Creative Writing Section 11 [Experimental & Fiction Comics Composition]” (International Program, Faculty of Communications Arts, Chulalongkorn University, Thailand), students were asked to explore the concept of “windows on time in a single place” developed by American cartoonist Richard McGuire with his two stories titled “Here” (1989 in the pages of RAW, and 2014 as an extended graphic novel). The complete groundbreaking graphic narrative can be read on this post: “Here” by Richard McGuire. Some of our students’ comics are displayed below in this post. More will be added soon.

mcguireHere_001
First page (out of six) of the short comics Here by Richard McGuire, published in RAW Volume 2 #1, USA, 1989. Full story… here.


The graphic narratives produced by my Thai [and exchange] students were inventive and striking, as some explored not only the COVID-19 crisis but addressed social and political issues in a straightforward way, revealing Thailand’s traumatic decades made of military coups and bloody crackdowns. I guess the assignment came timely, capturing the frustrations of a new generation of young adults, revealing visually the overburduning and endless cycle of coups and sociopolitical struggles. With my students and with Richard McGuire’s approval, we decided to set the assignment as a challenge and invite everyone to take part, as we believe that in these times of self-isolation, it might be interesting to widen the limited and constrained space we now inhabit by exploring it through time.

“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.” (Art Spiegelman, in: Conan, N. (2011). MetaMaus: The Story Behind Spiegelman’s Classic; radio interview, Oct 5)


OPEN-ACCESS LAYOUT

So here’s the layout that you are free to use [click on the image for larger version], and please add the hashtags #MeanwhileHereComics and/or #การ์ตูนที่นี่ (‘KatunTiNee’ which means “Here Comics” in Thai language) so that we can follow your artworks online.Thank you in advance for joining!Meanwhile Here Template


“Time, as cut into minute sausage slices and laid out on the [comics] page in an array from which larger connections and patterns may be sensed, is the cartoonist’s ‘paint’ or ‘clay.’ […] Trying to communicate the hugely incomprehensible yet indescriptibly fine texture of life in little reconstructions sort of mirrors the way we remember it… Really, when one come right down to it, in the end, that’s all we have: our memories!” (Chris Ware, in: Why I Love Comics. The New York Times , 2015)


OUR STUDENTS’ COMICS

#MeanwhileHereComics pages by students of the “Creative Writing Section 11 [Experimental and Fiction Comics Composition]” course. More will be added soon. In the captions below some pages, I’ve introduced links to some local/Thai events referred to in the graphic narratives. PS: I’m proud of my students’ hard and meaningful works. #ProudAjarn

Meanwhile Here by Jib
Click on page for larger size. Panel 1 [1932]: Siamese Revolution leading from an absolute monarchy to a constitutional one. Panel 2 [1976]: Student protests and Thamassat University Massacre. Panel 3 [2006]: 2006 Coup d’Etat. Panel 4 [2014]: 2014 Coup d’Etat (and Red/Yellow Shirts conflict). Panel 5 [2030 & 3,000 Years Ago]: reference to 2020 news on the Government giving up part of prehistoric cave painting site for mining. Panel 5 [2020]: ongoing University Students Protests for a fairer democratic system.
 

Meanwhile Here by Mind
Click on page for larger size. Panel 3 [2019]: waves of harmful [Particulate Matter] PM 2.5 levels in the air.
 

Meanwhile Here by Palmmy
Click on page for larger size. Panel 1 [1934]: tree growing two after the Siamese Revolution leading from an absolute monarchy to a constitutional one. Panel 2 [1976]: reference to the [graphic] photograph of Pulitzer Prize winner Neal Ulevich showing a junta supporter striking the lynched body of a student with a foldable chair in front of a cheering crowd, during the Thamassat University Massacre. Panels 3 and 5 [1976]: reference to the same photograph (lynched student). Panel 5 [2020]: ongoing University Students Protests for a fairer democratic system, with students making the “three-finger [Hunger Games] salute” in a sign of defiance against military rule. Panel 6 [2020]: COVID-19…
 

Meanwhile Here by Pim
Click on page for larger size. Panel 1 [2012]: reference to the Democracy Monument which commemorates the 1932 Siamese Revolution. Panel 4 [2020]: COVID-19…
 

Meanwhile Here by Proud
Click on page for larger size. Panel 4 [2020]: COVID-19…

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Click on page for larger size. Panels 1 and 6: Chinese-type funeral altar above which a portrait of the deceased person is placed.

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Click on page for larger size. Panels 3 and 6 [1868]: reference to the famous Thai ghost story Mae Nak (where the spectral nature of a female ghost is revealed to her husband when she stretches her arm oddly to pick a fallen lime).

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COMPOSITION PROCESS

As these “constrained comics” & concept are quite challenging, composition was achieved over a couple of weeks, and with the submission of several drafts commented by yours truly… via the Line app due to current COVID-19 crisis. If you want to spot the differences, and see how every minute detail [from color to fonts or encapsulation] matters in comics composition where “each element is thus: one with everything” (Nick Sousanis in: Unflattening, comics dissertation published by Harvard University Press, 2015).

MIND HERE PROCESS
Click on picture for larger size.

A Refugee’s Journey: Adapting Nick Sousanis’ “Grid and Gestures”

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 Unflattening published by Harvard University Press in 2015.

[Course: Imgt Comm, 2800217, International Program, CommArts, Chulalongkorn University, 20 January 2020, with 35 students]

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Above and below: CommArts students at work on the “Grid and Gestures” exercise

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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.”

Nick Sousanis (excerpted from this page)

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Above: CommArts student at work on the “Grid and Gestures” exercise

Nanz 01
“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. :)”


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.

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Students watching, drawing and/or taking notes during the projection of Rania’s footage.

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Student Paar drawing Rania’s “Grid and Gestures” during the projection.

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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:

Nanz 02
Ranias’s journey by Thai student Nanz.

Palmmy 02
Ranias’s journey by Thai student Palmmy.

Rika 02
Ranias’s journey by Japanese student Rika.

Paar 02
Ranias’s journey by Thai student Paar.

Meg 02
Ranias’s journey by Dutch exchange student Meg.

Por 02
Ranias’s journey by Thai student Por.

Ink 02

Ranias’s journey by Thai student Ink.

Pure 02
Ranias’s journey by Japanese exchange student Pure.

 

#ToSomeExtentChallenge

#ToSomeExtentChallenge: in-class creative assignment (“Introduction to Communication” course), at the International Program in Communication Design (CommDe, Faculty of Architecture, Chulalongkorn University, Bangkok, Thailand) on Monday 13, 2020; the 46 fresh.wo.men were asked to create -in teams of 2 or 3 participants- a graphic narrative within an imposed L-shaped layout, and to consider the spatialization of the narrative elements. Duration: 60′.

The constrained comics exercise was developed for the first “student” edition of the international comics residency-lab at Pierre Feuille Ciseaux on January 2019. The L-shaped layout is based on two comic strips dating from 1895 & 1905 (see below) found on the website Töpfferiana.


Idylle Lucy L-shape
Inspiration: two comic strips dating from 1895 & 1905 (see below) found on the website Töpfferiana.

CommDe fresh.wo.men @ work!


YL 3

YL 7

YL 2

YL 4

YL 6

YL 5

YL 1


And if you want to play with us, here are the 4 different layouts (with 4 or 5 panels).

Click on the layouts for larger sizes:

To Some Extent 4b

To Some Extent 4a

To Some Extent 5bTo Some Extent 5a

Polyptych Workshop in Taiwan (Sept 2019)

It was a challenging but wonderful 4-hour workshop on “Polyptych Constrained Comics” in Taipei with amazing Taiwanese and Malaysian cartoonists on Sunday, 22 September 2019. They did great on one of the most complex comics structure [where narrative sequences unfold on a continuous background]. It was such a pleasure to work and share with these talented folks! Thank you all for participating, Huang Pei-Shan and Slowork Publishing for the invitation, Carole Wenyao for translating, and ASW Tea House for hosting!

Workshop 05

Workshop 01

#UltraVioletChallenge – Part 2

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 at Pierre Feuille Ciseaux international comics residency-lab.

 

Imposed abstract comics page #UltraVioletChallenge
Imposed abstract comics page #UltraVioletChallenge

001
#UltraVioletChallenge by Performing Arts students Day and Prang.

002
#UltraVioletChallenge by Performing Arts students Mean and Save.

003
#UltraVioletChallenge by Performing Arts students Mui, Kitty and Dome.

004
#UltraVioletChallenge by Performing Arts students Kay and Mew.

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#UltraVioletChallenge by Performing Arts students Gene and Yongyong.

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#UltraVioletChallenge by Performing Arts students Coon, Earth and June.

 

“No Escape” by Patrick McEown, CAN, 1999

No Escape McEown complete 01 10

“No Escape” by Patrick McEown. Click on pic for full size. ©1999 Fantagraphics/McEown


No Escape by Patrick McEown (CAN), in: Dave Cooper’s Weasel #1, Fantagraphics Books, US, August 1999.

©1999 Fantagraphics/McEown

No Escape McEown Arrow 04 05 06
Excerpt of a 10-page non-linear/loop/polyptych comics. Pages 4, 5 and 6 of Patrick McEown’s No Escape. Arrows not in the original. ©1999 Fantagraphics/McEown


To read the story in diaporama:

 

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To read the story in a full-size continuous polyptych, click on the picture below:

No Escape McEown complete 01 10
“No Escape” by Patrick McEown. ©1999 Fantagraphics/McEown


By two pages:

No Escape McEown double 01 02
Pages 1 & 2 (out of 10) of Patrick McEown’s No Escape. ©1999 Fantagraphics/McEown

No Escape McEown double 03 04
Pages 3 & 4 (out of 10) of Patrick McEown’s No Escape. ©1999 Fantagraphics/McEown

No Escape McEown double 05 06
Pages 5 & 6 (out of 10) of Patrick McEown’s No Escape. ©1999 Fantagraphics/McEown

No Escape McEown double 07 08
Pages 7 & 8 (out of 10) of Patrick McEown’s No Escape. ©1999 Fantagraphics/McEown

No Escape McEown double 09 10
Pages 9 & 10 (out of 10) of Patrick McEown’s No Escape. ©1999 Fantagraphics/McEown

“Glenn Ganges in: ‘Time Travelling'” by Kevin Huizenga, US, 2006


Glenn Ganges in: “Time Travelling” by Kevin Huizenga (US), in GANGES #1, Fantagraphics Books, USA, 2006. More on Kevin Huizenga’s website (over here) and blog (over there).

Copyright ©2006 Fantagraphics/Huizenga

Huizenga ganges.1
Page 1/5 of Glenn Ganges in: “Time Travelling” by Kevin Huizenga. Copyright ©2006 Fantagraphics/Huizenga

Huizenga ganges.2
Page 2/5 of Glenn Ganges in: “Time Travelling” by Kevin Huizenga. Copyright ©2006 Fantagraphics/Huizenga

Huizenga ganges.3
Page 3/5 of Glenn Ganges in: “Time Travelling” by Kevin Huizenga. Copyright ©2006 Fantagraphics/Huizenga

Huizenga ganges.4
Page 4/5 of Glenn Ganges in: “Time Travelling” by Kevin Huizenga. Copyright ©2006 Fantagraphics/Huizenga

Huizenga ganges.5
Page 5/5 of Glenn Ganges in: “Time Travelling” by Kevin Huizenga. Copyright ©2006 Fantagraphics/Huizenga

The Prophetic Word (“Le Verbe prophétique”) by Ibn al Rabin, CH, 2012


The Prophetic Word (“Le Verbe Prophétique”) by Ibn al Rabin (aka Mathieu Baillif, CH), in SplendeuRs et MisèRes du VeRbe, L’Association, France, 2012. More on Ibn al Rabin over here.

Copyright ©2012 L’Association/Ibn al Rabin

Ibn al Rabin 1
Page 1/6 of The Prophetic Word (“Le Verbe Prophétique”) by Ibn al Rabin, CH, 2012. ©2012 L’Association/Ibn al Rabin

Ibn al Rabin 2
Pages 2 & 3 of The Prophetic Word (“Le Verbe Prophétique”) by Ibn al Rabin, CH, 2012. ©2012 L’Association/Ibn al Rabin

Ibn al Rabin 3
Pages 4 & 5 of The Prophetic Word (“Le Verbe Prophétique”) by Ibn al Rabin, CH, 2012. ©2012 L’Association/Ibn al Rabin

Ibn al Rabin 4
Page 6/6 of The Prophetic Word (“Le Verbe Prophétique”) by Ibn al Rabin, CH, 2012. ©2012 L’Association/Ibn al Rabin