OVERVIEW
1st session
2nd session
3rd session
4th session
5th session
Osamu tezuka
Osamu Tezuka, often referred to the "God of manga", was born in Japan in 1928, grew up during WW2, after which he went to medical school to train to be a doctor as his parents wished him to be. However around this time, Tezuka says he had fallen in love with the works of Walt Disney, most of all the film "Bambi", which was just one of many pieces of American media left behind by soldiers after the war.
Due to Japan's weak economy after the bombing of Nagasaki and Hiroshima, Tezuka saw an opportunity in the potential of Disney's animation style, as well as the comic format of publications such as Marvel and DC comics, to create a new culture of entertainment in Japan, that could thrive on their resource and money poor economy. Tezuka saw the formats as near limitless, so long as individuals were willing to hone their skills and put in some eyebrow raising work-hours, which is exactly what he decided to do.
Going down this path, Tezuka quit medical school, and shortly later began pioneering Japan's animation and comics industries, creating art forms that would later be referred to as "Anime" and "Manga". Tezuka would grace these with some of his iconic creations such as "Astro boy", "Kimba the white lion", or "Phoenix".
One of my personal favourites of his works, is an anthology series called "Black Jack". Inspired by his time as a doctor, this series follows a morally ambiguous surgeon on his many escapades and ventures into the darker side of the medical world. While sometimes innocent, Black Jack was one of Tezuka's creations which often blurred the lines between the childish and the mature, and in a most effective way.
Due to Japan's weak economy after the bombing of Nagasaki and Hiroshima, Tezuka saw an opportunity in the potential of Disney's animation style, as well as the comic format of publications such as Marvel and DC comics, to create a new culture of entertainment in Japan, that could thrive on their resource and money poor economy. Tezuka saw the formats as near limitless, so long as individuals were willing to hone their skills and put in some eyebrow raising work-hours, which is exactly what he decided to do.
Going down this path, Tezuka quit medical school, and shortly later began pioneering Japan's animation and comics industries, creating art forms that would later be referred to as "Anime" and "Manga". Tezuka would grace these with some of his iconic creations such as "Astro boy", "Kimba the white lion", or "Phoenix".
One of my personal favourites of his works, is an anthology series called "Black Jack". Inspired by his time as a doctor, this series follows a morally ambiguous surgeon on his many escapades and ventures into the darker side of the medical world. While sometimes innocent, Black Jack was one of Tezuka's creations which often blurred the lines between the childish and the mature, and in a most effective way.
Page from the first chapter of Tezuka's "Black Jack"
(reading from right to left- Japanese publication)
Panel 1
Dialogue is separated into three bubbles to help sound out the pace at which the character is talking, it also helps guide the eyes across the page to the character who is listening. When our eyes cross this chcaracter (doctor), we see his reaction to the dialogue we have already been reading.
the reaction is signed using sweat droplets, and unconfident motion lines, to suggest feeble movement (the shaking of the doctor)
Panel 2
The second panel is framed the same as the first one, in a medium rectangle (about a quarter page size), this creates the typical "Z" movement with the eyes that most comics follow when reading linearly. knowing this, Tezuka has placed the characters chronologically in direction of the eye movement, with the doctor first (as we are awaiting his response to the first panel), and the rich man on the left. this is creating an action and response dynamic in the first two panels, where in one frame you get enough information to resolve the previous beat, as well as set up the next one (which helps create a steady momentum, or "pace" for the reader).
Tezuka is also showing the doctors action and emotion in tandem by using the old comic trickery of drawing the same thing multiple times to suggest movement. (In this case being the arm). this naturally lines up with the reader's eye when reading the dialogue box above, so that the action and dialogue are processed at the same time (which is exactly how they would happen in the context of the story).
Panel 3
In this panel, we zoom in on the detail from the previous panel, making it an action to action transition. here we see the doctor lean in to what he was discussing in the previous dialogue box. Like in previous panels, the visual hierarchy guides the readers eye so the story flows naturally: dialogue, then the emotion from the doctors face, then the patient on the table.
Panel 4
following on from this action panel, we have another action panel, but this time with a broader composition, starting first with dialogue, then following with a similar action to panel 3 with the doctors arm, now with movement from the rich man's cane swinging and thrashing the doctor on the head.
Tezuka has also added in some little impact stars to show how the cane is hitting the doctor. the stars could mean anything, but in comic language, the reader knows they are usually symbolic of visual noise when two things impact together. not a literal representation of what happens, more a hyperbolic one.
Panel 5
The Penultimate panel has a slightly more sophisticated composition, and is also a scene jumping transition, with the rich man now outside the hospital in his car, and the doctors watching on. the car gives a leading line to the left (again helping guide the reader).
Panel 6
Using the composition from the previous panel, the final panel of the page begins with a swooping line leading from the bottom, or an "action line". this helps sign off the page with the final beat of the microstory (the conflict between the man and the doctor), while also helping the composition come to a natural endpoint.
Panel 1
Dialogue is separated into three bubbles to help sound out the pace at which the character is talking, it also helps guide the eyes across the page to the character who is listening. When our eyes cross this chcaracter (doctor), we see his reaction to the dialogue we have already been reading.
the reaction is signed using sweat droplets, and unconfident motion lines, to suggest feeble movement (the shaking of the doctor)
Panel 2
The second panel is framed the same as the first one, in a medium rectangle (about a quarter page size), this creates the typical "Z" movement with the eyes that most comics follow when reading linearly. knowing this, Tezuka has placed the characters chronologically in direction of the eye movement, with the doctor first (as we are awaiting his response to the first panel), and the rich man on the left. this is creating an action and response dynamic in the first two panels, where in one frame you get enough information to resolve the previous beat, as well as set up the next one (which helps create a steady momentum, or "pace" for the reader).
Tezuka is also showing the doctors action and emotion in tandem by using the old comic trickery of drawing the same thing multiple times to suggest movement. (In this case being the arm). this naturally lines up with the reader's eye when reading the dialogue box above, so that the action and dialogue are processed at the same time (which is exactly how they would happen in the context of the story).
Panel 3
In this panel, we zoom in on the detail from the previous panel, making it an action to action transition. here we see the doctor lean in to what he was discussing in the previous dialogue box. Like in previous panels, the visual hierarchy guides the readers eye so the story flows naturally: dialogue, then the emotion from the doctors face, then the patient on the table.
Panel 4
following on from this action panel, we have another action panel, but this time with a broader composition, starting first with dialogue, then following with a similar action to panel 3 with the doctors arm, now with movement from the rich man's cane swinging and thrashing the doctor on the head.
Tezuka has also added in some little impact stars to show how the cane is hitting the doctor. the stars could mean anything, but in comic language, the reader knows they are usually symbolic of visual noise when two things impact together. not a literal representation of what happens, more a hyperbolic one.
Panel 5
The Penultimate panel has a slightly more sophisticated composition, and is also a scene jumping transition, with the rich man now outside the hospital in his car, and the doctors watching on. the car gives a leading line to the left (again helping guide the reader).
Panel 6
Using the composition from the previous panel, the final panel of the page begins with a swooping line leading from the bottom, or an "action line". this helps sign off the page with the final beat of the microstory (the conflict between the man and the doctor), while also helping the composition come to a natural endpoint.
6th session
Brief description of subcultures published by the University of Rochester
taken from "Interrogating Subcultures"
written by Amy Herzog, Joanna Mitchell and Lisa Soccio
taken from "Interrogating Subcultures"
written by Amy Herzog, Joanna Mitchell and Lisa Soccio
Subcultures have been broadly defined as social groups organized around shared interests and practices. The term "subculture" has been used to position specific social groups and the study of such groups, in relation to various broader social formations designated by terms like "community," the "public," the "masses," "society," and "culture." Use of the term "subcultures" in academic subcultural studies has shifted since the term was coined in the 1940s in the context of the Chicago School of sociology and its liberal, pluralist assumptions. This loosely defined interdisciplinary field has been altered and informed by Frankfurt School analyses of mass culture and society, by debates in anthropology regarding the methods and ethics of ethnography, by the critical synthesis of perspectives developed in the 1970s at the Birmingham Centre for Contemporary Cultural Studies, and by subsequent critique and revision of these earlier tendencies especially by feminist and poststructuralist writers. Subcultural studies often involve participant-observation, and may variously emphasize sociological, anthropological, or semiotic analysis in order to address the organization and production of relational, material, and symbolic structures and systems.
Vaporwave
week 7
My manifesto:
The future is in yesterday
As we push further ahead at faster and faster speeds, both in thought and innovation, it is becoming easier to leave behind the things we have spent generations developing, learning, crafting. As a creative, the idea that everyone will one day be drawing the same picture, with the same tools, in the same style, is horrifying. I believe the essence of creativity is in finding commonality in our individuality, and the best way we can salvage the essence of that, is by looking not to tomorrow, but to yesterday:
The future is in yesterday
As we push further ahead at faster and faster speeds, both in thought and innovation, it is becoming easier to leave behind the things we have spent generations developing, learning, crafting. As a creative, the idea that everyone will one day be drawing the same picture, with the same tools, in the same style, is horrifying. I believe the essence of creativity is in finding commonality in our individuality, and the best way we can salvage the essence of that, is by looking not to tomorrow, but to yesterday:
- There are no hard ways to be an artist, only slow ways.
- The slow ways are just as good as the fast ways. Learn both.
- Digital art is the cherry on top of your talent, not the cake
- Artistic traditions are meant to be embraced, not escaped.
- Creativity should never be selfish
- Nobody can tell you what you should draw or make
- Nobody can tell you how to be an artist
- Failiure is okay. Giving up is not.
things looked into, materials discovered, subject matter. breakdown of what to do/ how to do it
ORIGIN
Researching the obvious: what my brief is
(the text if its in response to a text, etc)
(the text if its in response to a text, etc)
BRANCHING OUT
pinterest boards of inspiration looked into
Coming to a conclusion with my first research
artists 1,2,3 that ive looked into for inspiration
NEXT
First round of research, lead into...
the initial response to the brief, be it material Idas, concept ideas, thumbnails, skills being tested to see how they work with the subject
taking the more successful ideas and fleshing them out. skills changing, honing, refining, details changing, new approaches to the same concept, perhaps going back to research when coming across a problem that can't be overcome.
eventually settling on a final direction to go in that is successful
eventually settling on a final direction to go in that is successful
the final outcome, maybe the penultimate. the first time you make a final, maybe ou had to go back and re-develop, but mainly focus on the beautiful presentation of your final work, and how it can be used/ applied to real world responses
(knock their socks off)
(knock their socks off)