FROM DUSK TILL DRAWN: Comics Art Studies and Graphic Narratives Composition, Workshops, Events & Zine Publishing @ Faculty of Communication Arts, Chulalongkorn University [Bangkok – THAILAND]
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.
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!
“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
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).
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).
On the occasion of the 150th Anniversary of Friendship between Belgium and Thailand, and to explore the ability of comics to tackle social and political issues with much effectiveness and immediacy, 8 students at the International Program in Communication Design (CommDe, Department of Industrial Design, Faculty of Architecture, Chulalongkorn University, Bangkok, Thailand) were asked to create 2-page comics starring the Marsupilami -an imaginary animal created by Belgian cartoonist André Franquin (for Belgian publishing house Dupuis in 1952)- and addressing the recent story of a construction company mogul charged with six poaching-related crimes (including the killing of a black Indochinese leopard/panther) in a Thai Wildlife Sanctuary. High-resolution pages are displayed at the end of this post, after an introduction to the historical context and the guest-lecture on André Franquin.
Poster of an angry Marsupilami for the “Geneva League Against Vivisection”. By André Franquin (1970s).
1. Historical context
Left: cover of The Secret Chronicles of Thungyai (1973). Right: illustration of a “gaur lying dead under the Thai flag” by Prayoon Chanyawongse in The Secret Chronicles of Thungyai(1973).
The Secret Chronicles of Thungyai [Naresuan Wildlife Sanctuary](in Thai: บันทึกลับจากทุ่งใหญ่) is a journal published in 1973 by a group of students against elephant hunting (and other animal poaching) in Thailand in the aftermath of the crash of a military helicopter in the Thung Yai forest revealing an illegal hunting party of senior military officers, businessmen, family members, and a filmstar. The ‘zine’ documented “the ecological value of the area as well as the incident” (The Nation, 2018), and was accompanied by satirical illustrations from various influential cartoonists (with an introduction, and two illustrations, by the “King of Thai Cartoon” Prayoon Chanyawongse; see figure above). 200,000 copies of the student journal were sold in 2 weeks (Eawsakul, 2015), fuelling nationwide public outrage. “In a time of great political unrest the incident became a focus for the prevailing discontent with the military rule” and “a rallying cry for the pro-democracy movement” (Seub/Stewart-Cox 1990:34), triggering public protest and demonstrations. “The protests were suppressed on October 14, with scores of killed, followed by a great number of students fleeing to the forest to join communist groups” (The Nation, 2018). The bloody crackdown ultimately led to the fall of the Thanom-Prapas regime. “The area finally was declared a Wildlife Sanctuary in 1974 under a new democratic government” (Buergin, 2001).
“Premchai Karnasuta, far left, sits in the campsite where he was found with the remains of a leopard, panther and other wildlife Monday in the Thungyai Naresuan Wildlife Sanctuary in Kanchanaburi province” (Photo: khaosodenglish.com).
“Authorities found two rifles, a double-barrelled shotgun, various bullets, the body of a Kalij pheasant, a muntiacini deer carcass, a skinned and salted black leopard and a black panther skull in the camp” (Photo: khaosodenglish.com)
44 years later (on February 5, 2018) in the same Wildlife Sanctuary, construction company mogul Premchai Karnasuta -the 63-year-old president of Italian-Thai Development- and three other men were charged with six poaching-related crimes after they were caught with “two rifles, a double-barrelled shotgun, various bullets, the body of a Kalij pheasant, a muntiacini deer carcass, a skinned and salted black leopard and a black panther skull”. (Thaitrakulpanich, Khaosod English, 2018a). “Investigators examining Premchai’s camp site found cooking equipment they believe the rotund CEO used to consume the animal. The black leopard, commonly called a black panther in Asia and considered a vulnerable species, was killed by gunfire” (Thaitrakulpanich, Khaosod English, 2018b). Mr Premchai and other suspects still deny the charges against them, which include illegal hunting and possessing firearms in a sanctuary.” A ranger and his coworkers have told police that the powerful construction magnate they arrested on suspicion of poaching a rare black panther tried to bribe them” (Thaitrakulpanich, Khaosod English, 2018c). “The case has sparked a fierce outcry from environmental groups, celebrities and the public in general” (Bangkok Post, 2018). “As people following the case have shown dissatisfaction with the slow pace of the investigation, many have expressed their feelings regarding the case, and the hunting of endangered big cats in general, in many ways.” A campaign calling for the prosecution of a construction tycoon over “his alleged killing of a black leopard and other protected animals has expanded, with people expressing their grief and anger in essays, poems, paintings and, in the latest development, street art” (Chimprabha, The Nation, 2018). It was just about time to address the issue in #ArtOfThePanther comics form…
(Note: sources at the end of this post).
“The first mural apparently was the work of a Facebook user known as ‘Headache Stencil’, who painted a picture of a black leopard’s head accompanied by a symbol of a mute button on a wall on Sukhumvit Road. The symbolism was described as urging the public not to remain silent regarding the case” (Marisa Chimprabha, The Nation).
#Artofthepanther by Thai cartoonist Puck
#Artofthepanther by Thai cartoonist Tumz Horriziny.
Art by Thai cartoonist Puck
#Artofthepanther by Thai cartoonist Puck
Alex Face’s “artwork depicted the artist’s famous graffiti character Mardi wearing a black-leopard costume and a mask with a Pinocchio nose” (Marisa Chimprabha, The Nation).
#Artofthepanther by Thai artist Zing.
2. “From Harvey Kurtzman to André Franquin” guest lecture
On Wedneday February 7, I had the pleasure to be invited to hold a guest lecture for ajarn Oat Montien’s Visual Narrative course at the International Program in Communication Design (CommDe, Department of Industrial Design, Faculty of Architecture, Chulalongkorn University). My topic was the evolution of Comics Art from American cartoonist Harvey Kurtzman (1924-1993), with complete analyses of his classic short comics BIG ‘IF’! (Frontline Combat #5, March 1952) and 3-DIMENSIONS! (art by Wally Wood, MAD #12, June 1954), to Belgian cartoonist André Franquin‘s (1924-1997) creations such as Gaston Lagaffe and the Marsupilami, and Les Idées Noires (Die Laughing, soon in English by Fantagraphics).
Contextualizing Harvey Kurtzman and Bernie Krigstein’s stories, and MAD magazine.
Analysis of Harvey Kurtzman’s classic Korean War story “The Big ‘IF’!”.
Contextualizing Jijé, André Franquin and René Goscinny’s milestones, and “Spirou” and “Pilote” magazines.
E.C. Segar’s character Eugene the Jeep (that Marsupilami creator André Franquin liked as a child).
The lecture also included an analysis of the comics masterpiece Master Race by (Al Feldstein &) Bernie Krigstein (Impact #1, EC Comics, April 1955), and a presentation of the seminal role of French comics writer René Goscinny (The Adventures of Asterix) and Belgian cartoonist Jijé (figurehead of the Marcinelle School, author of seminal semi-realistic comics series Jerry Spring and mentor of André Franquin, Smurfs‘creator Peyo, or Jean Giraud/Moebius) in the development of humour, realism, and more adult content in Franco-Belgian comics (influenced partly by American cartoonists such as Harvey Kurtzman and Milton Caniff).
Both unfairly lacking international recognition, Belgian comics creator Jijé (Joseph Gillain, 1914-1980) and Thai cartoonist Hem Vejakorn (เหม เวชกร, 1904-1969) were probably the most influential comics artists in their respective countries in the 1950s. Is it in the Franco-Belgian or the Thai comics fields, they introduced a seminal and groundbreaking semi-realistic drawing style, adapted the lives of spiritual and historical figures (Jesus/Emmanuel or Baden Powell for Jijé and King Razadarit or Buddha for Hem Vejakorn), influenced and taught the following generation of comics and animation masters (Morris, André Franquin, Will or Jean Giraud/Mœbius for Jijé or Payut Ngaokrachang and others for Hem Vejakorn)… among other similarities. “The Horseman and The Mahout” (or “Khwanchang” in Thailand), another pending project…
Original artwork (detail) and panel from “Spirou: Les Petits Formats” by André Franquin (and Roba), Dupuis, 1960.
Influence of the Atom Style on the Marsupilami’s tail (and other designs in comics from the “Marcinelles School”).
Belgian cartoonist Hergé, creator of the Adventures of Tintin, stated: “Franquin is a great artist. Next to him, I’m only a mediocre pen-pusher”. Fantagraphics’ Kim Thompson agreed with Tintin’s creator, writing that “in terms of ultra-classic greatness, Hergé has that abstract line but Franquin has something else. He created the most complete, the most alive, the most absolute cartooniness in comics history” (source: The Comics Journal).
Cover of the upcoming English translation of André Franquin’s classic “Les Idées Noires” (under the title “Die Laughing”, from Fantagraphics).
On 31 January 1952, the first appearance of the Marsupilami in the adventure of Spirou et les Héritiers (Spirou and the Heirs) in the weekly Spirou magazine marked a generation of readers. The myth did not need decades to settle permanently (MarsuPro). The original Marsupilami was found from the jungle of Palombia, a fictitious South American country, by adventurous journalists Spirou and Fantasio and their squirrel Spip. The marsupial was taken to Belgium, where he was shortly kept in a zoo (Comic Vine). The Marsupilami will later accompany Spirou and Fantasio in many adventures, before returning to Palombia and have adventures of its own. The Spirou et Fantasioalbum Le nid des Marsupilamis (1956) is mostly concerned with female reporter Seccotine‘sdocumentary-within-the-comic about the life of a family of Marsupilamis still living in the wild in Palombia. Marsupilamis have a long, strong, flexible, prehensile tail, used for almost any task. They are able to use their tail as a weapon, by tightening the end into a fist and the remainder of the tail into a spring-like spiral for maximal force (see figure above). Marsupilamis must regularly defend themselves against poacher Bring M. Backalive and his associates…
Tribute to André Franquin by Belgian cartoonist René Follet. With Spirou, Fantasio, and the Marsupilami.
Pages from “Spirou et les héritiers” (“Spirou and the Heirs”) by André Franquin, serialized in “Le Journal de Spirou” (Dupuis) in 1952. Set in Palombia, a fictional South American country, and introducing the Marsupilami character for the first time.
Original artwork (half-page) for a “Gaston Lagaffe” strip by André Franquin.
Original artwork for “Les Idées Noires” (“Die Laughing”) by André Franquin.
Marsupilami tribute by René Hausmann, and screenshot from the Marsupilami live action movie.
Cover of “Spirou and Fantasion: The Marsupilami Thieves” available in English from Cinebook.
Cover of “The Marsupilami #01: The Marsupilami’s Tail” available in English from Cinebook.
3. Presenting 1940s-1970s issues of Spirou magazine
After the lecture, CommDe students had the opportunity to flip through a collection of 1940s-1970s classic and rare issues of the Franco-Belgian Spiroumagazine (with Spirou/Marsupilami pages by André Franquin, Jerry Springpages by Jijé, Johan and Peewit pages by Smurfs creator Peyo, etc.), and issues of the Spirou magazine mythic supplement Le Trombone Illustré. I would like to thank warmly Philippe Capart, owner of the bookstore La Crypte Tonique in Brussels, who helped me to select and acquire the issues of this invaluable collection used for my comics courses in Thailand.
CommDe students flipping through 1940s-1970s issues of the Spirou magazine (with some Spirou/Marsupilami stories, Jijé’s Jerry Pringpages, and Le Trombone Illustré supplement).
CommDe students flipping through 1940s-1970s issues of the “Spirou” magazine (with some Spirou/Marsupilami stories, Jijé’s Jerry Pring pages, and “Le Trombone Illustré” supplement).
CommDe students flipping through 1940s-1970s issues of the “Spirou” magazine (with some Spirou/Marsupilami stories, Jijé’s Jerry Pring pages, and “Le Trombone Illustré” supplement).
Yours truly showing anti-Japanese propaganda in a Superman page published in an issue of the British “Overseas Comics” (issued during WWII, only to members of the Allied Armed Forces by arrangement with the War Office). And “DNA-tracking” the influence of American cartoonist Milton Caniff’s chiaroscuro and realistic style on Hugo Pratt’s Corto Maltese (then Frank Miller’ Sin City), Belgian cartoonist Jijé (1914-1980; then Jean Giraud/Moebius), and American cartoonists Harvey Kurtzman and Wally Wood…
Students were given one week to develop the layouts of their Marsupilami and the Black Panther two-page comics. During the following lesson, ajarn Oat Montien -with the assistance of yours truly- gave comment and advice on the comics layouts (see figures below).
Marsupilami sketch by CommDe student Arty.
Marsupilami comics layouts by CommDe student Darnis.
Marsupilami comics layouts by CommDe student Zam (and commented by ajarn Oat Montien).
Marsupilami comics layouts by CommDe student Proud.
Ajarn Oat Montien supervising the layout composition of the Marsupilami comics developed by CommDe students.
Bangkok Post (2018, March 7). Black leopard soup confirmed in poaching case. Bangkok Post.
Buergin, R. (2001). Contested Heritages: Disputes on People, Forests, and a World Heritage Site in Globalizing Thailand, SEFUT Working Paper No. 9, University of Freiburg, p.5.
Chimprabha, M. (2018, March 8). Art breathes life into black leopard campaign – despite repeated attempts at suppression. The Nation.
Eawsakul, T. (2015), Cartoon Thai Tai Laew (catalogue expo, “การ์ตูนไทยตายแล้ว”, “Is Thai Cartoon Dead?”). Bangkok: PUBAT, The Publishers and Booksellers Association of Thailand, n.p.
Seub N., Stewart-Cox, B. (1990). Nomination of the Thung Yai – Huai Kha Khaeng Wildlife Sanctuary to be a U.N.E.S.C.O. World Heritage Site. Bangkok: Royal Forest Department.
Thaitrakulpanich, A. (2018a, Feb 6). Italian-Thai President Charged with Poaching Wild Animals. Khaosod English.
Thaitrakulpanich, A. (2018b, Feb 8). Rangers: Premchai ate the Leopard in a Soup. Khaosod English.
Thaitrakulpanich, A. (2018c, Feb 8). Forest Ranger: Poacher Premchai Offered Bribe. Khaosod English.
The Nation (2018, Feb 7). Hunting arrests recall events leading to 1973 uprising crisis. The Nation.
#BiggerQuestions: in-class creative assignment (Intro Comm course developed by the Faculty of Communication Arts; Interpersonal Communication chapter); weaving 7 scattered wordless panels (taken fromAnders Nilsen‘s Big Questions) into a 2-page graphic narrative.
BLURB!
“Great exercise!” Matt Madden(February 9, 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.
“More good stuff from [Bangkok], thanks for sharing!” Nick Sousanis (February 9, 2018), assistant professor of Humanities & Liberal Studies at San Francisco State University. He received his doctorate in education at Teachers College, Columbia University in 2014, where he wrote and drew his dissertation entirely in comic book form. Titled Unflattening, it argues for the importance of visual thinking in teaching and learning, and was published by Harvard University Press in 2015.
January 2018. Fifty (1st year) Thai students at the International Program in Communication Design (CommDe, Department of Industrial Design, Faculty of Architecture, Chulalongkorn University) received 2 pages displaying 7 scattered panels (with erased text) taken from various pages of the graphic novel Big Questions by American cartoonist Anders Nilsen. Within 90 minutes, they had to produce additional panels (if necessary) -and add dialogues- in order to bridge the imposed panels and weave a cohesive and convincing graphic narrative. Following brief comments provided on their comprehensive layouts, students finalized the artwork at home. See below for 20+ of their #BiggerQuestions constrained comics.
Inspired by on a constrained comics exercise used atPierre Feuille Ciseaux international comics residency-lab.
Pages from Anders Nilsen‘s Big Questions (Drawn & Quarterly, 2011).The 2 imposed pages -with scattered panels and blanked-out dialogues- taken from Anders Nilsen‘s Big Questions (Drawn & Quarterly, 2011).
CommDe student bridging the gaps between Anders Nilsen‘s panels.
CommDe students working on a “exercise in style”… with style!
CommDe student bridging the gaps between Anders Nilsen’s incomplete and scattered panels.
CommDe students bridging the gaps between Anders Nilsen’s incomplete and scattered panels.
Fifty CommDe students bridging the gaps between Anders Nilsen’s incomplete and scattered panels.
Click on the 2-pagers below for larger size.
“Bigger Questions” constrained comics by (1st year) CommDe student PLYE“Bigger Questions” constrained comics by (1st year) CommDe student YOSHIYUKI“Bigger Questions” constrained comics by (1st year) CommDe student BYRD“Bigger Questions” constrained comics by (1st year) CommDe student PT“Bigger Questions” constrained comics by (1st year) CommDe student SASINAN (PING)“Bigger Questions” constrained comics by (1st year) CommDe student CHICHI“Bigger Questions” constrained comics by (1st year) CommDe student OOM“Bigger Questions” constrained comics by (1st year) CommDe student AOM (P.)“Bigger Questions” constrained comics by (1st year) CommDe student TAT“Bigger Questions” constrained comics by (1st year) CommDe student PHURICH“Bigger Questions” constrained comics by (1st year) CommDe student SHARON“Bigger Questions” constrained comics by (1st year) CommDe student BASK“Bigger Questions” constrained comics by (1st year) CommDe student EVE“Bigger Questions” constrained comics by (1st year) CommDe student NENE“Bigger Questions” constrained comics by (1st year) CommDe student AOM (T.)“Bigger Questions” constrained comics by (1st year) CommDe student FAHSAI“Bigger Questions” constrained comics by (1st year) CommDe student LUKPEAR“Bigger Questions” constrained comics by (1st year) CommDe student SUNNY“Bigger Questions” constrained comics by (1st year) CommDe student PLOY“Bigger Questions” constrained comics by (1st year) CommDe student MIM“Bigger Questions” constrained comics by (1st year) CommDe student KARIN“Bigger Questions” constrained comics by (1st year) CommDe student MICK“Bigger Questions” constrained comics by (1st year) CommDe student PEACHY“Bigger Questions” constrained comics by (1st year) CommDe student KRIS
“Zig et Puce” by Alain Saint-Ogan (FR), and “Tintin” by Hergé (BE)
“Jerry Spring” by Jijé (BE) & Lob (FR), and “Lucky Luke” by Morris (BE) & René Goscinny (FR)
Some Franco-Belgian classic comics acquired at La Crypte Tonique (Brussels) to illustrate -materially- the two courses dedicated to the History of Franco-Belgian “bandes dessinées” at Chulalongkorn University, Bangkok. PS: Merci Philippe Capart!
Front cover of “Cadet-revue”, May 15, 1939, France. “Saint Francis of Assisi – Animals, my brothers”; one of my favourite illustrations by French cartoonist and illustrator Alain Saint-Ogan (goo.gl/dKom7j).Back cover of “Cadet-revue”, May 15, 1939, France. One of my favourite pages by French cartoonist and illustrator Alain Saint-Ogan (goo.gl/dKom7j): “Monsieur Poche: un animal étrange.” First printed in “Dimanche illustré” #623, February 3, 1935, France.Original artwork of the page “Monsieur Poche: un animal étrange” first published in “Dimanche illustré” #623, February 3, 1935, France. Analysis by Thierry Groensteen: goo.gl/kamg93. In the collection of the Museum of the Cité Internationale de la Bande Dessinée et de l’Image, Angoulême, France.
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