The Illustrator

Introduction: The Comic

Comics are the visual medium used to express narrative through the use of images, often combined with text. Comics have a long history that can be traced as far back as the dawn of man, with basic sequential drawings appearing as cave drawings/paintings. [1][2] Rome's Trajan's Column, built in 113 AD, is an early surviving example of a narrative told through sequential pictures, while Egyptian hieroglyphs, Greek friezes, medieval tapestries such as the Bayeux Tapestry and illustrated manuscripts also combine sequential images and words to tell a story. [3]

 

The medium has evolved over time with the invention of various printing methods, making it cheaper, and more practical to produce. [4]

The Swiss artist Rodolphe Töpffer is often credited with creating the first modern comic books. [5] In 1837, he published Histoire de M. Vieux Bois (published in the United States in 1842 as The Adventures of Obadiah Oldbuck). [6] Each page of the book had one to six captioned cartoon panels, much like modern comics. [7][8]

 

Above we can see a page from Töpffer’s Histoire de M. Vieux Bois. We can see the way he used separate images to convey a sequence and more importantly a narrative. This technique had never been seen before and was well received by the public, gaining much popularity in the United States and its original Switzerland. Critics, however, panned almost all of Töpffer's caricature works, decrying them as a low ambition for a greater mind. [9] None the less the comic was born; other notable works of the 19^th century include Max and Moritz (1865), by Wilhelm Busch and The Yellow Kid (1894), by Richard F. Outcault [10]

Later in the first half of the 20^th Century we get artists such as George Remi and Charles M. Schulz’s, creating comic book characters appealing to a wide audience, and comic books start to become more popular, especially with younger audiences. [11] Many of the genre conventions start to appear, things like speech bubbles, and panelling design. We also see the introduction of colour to the medium. [12]

From the 1930-1950 is often described as the golden age for comics. This time was dominated by the creation of the superhero comics. In 1938 Jerome Siegal and Joseph Shuster created Superman, superman was immensely successful, and become a cornerstone of the industry.  DC comic’s introduced Batman a year later in 1939. The popularity of these characters propelled comic books in to the mainstream. [13][14]

Due to large amounts of persistent criticism that comic book art was not “great” art, comic book artists began to experiment with colour and page display to create more engaging, visually stimulating products, to help with competition from television and other mediums. [15][16]

The modern comic book industry is still dominated by the superhero comics. The publishing houses have turned into massive multimedia entertainment companies, which not only produce comics, but films and games too. [17]

The Illustrator: Craig Thompson

Craig Thompson is an American writer and illustrator, best known for his work Blankets, and Habibi. Thompson is best known for his interesting use of the comic medium. [18] His love of comics stems from his childhood, in which it was the only form of entertainment not to be censored by his Christian parents. [19][20] Craig enjoys comics because he likes the creativity of being able to be the writer, designer, cinematographer and artist. [21]

Blankets is an autobiographical graphic novel by Craig Thompson, published in 2003. Thompson's black-and-white drawings are simple and powerful. He employs a technique of crosshatched realism combined with often surrealist and expressionist imagery to help tell the emotional narrative. [22]

The art of Blankets plays a major part in the audience’s experience of the book. Thompson combines the detail of illustration with the dynamism of cartoons in his black and white drawings. Using both pen and brush he switches from realism to expressionism, an example of this in the book is when a teenage Craig is burning his childhood drawings, purging himself of his sins; we see his inner demons shoot from his mouth. [23]

Another example, when Craig is leaving his teenage love, the car he is in simply drives off of the edge of the world into clouds. [24] It’s an effective technique; Craig manages to describe complex emotions through his use of these expressionist, abstract images far better than any written text could. It also brings an element of difference to his art, something not normally seen in a comic; it distinguishes him as a comic auteur.

 

Neil Gaiman described Blankets as "Moving, tender, beautifully drawn, painfully honest, and probably the most important graphic novel since Jimmy Corrigan." [25] Re-enforcing the idea that Craig’s work has had a significant impact on the comic book industry, proving that a comic does not have to be about comic book heroes to be successful; a view that’s shared by many other book critics. [26]

Thompson has said that, in his composition process, pages are initially composed "in a very illegible form, a shorthand where words and pictures blur into alien scribbles...I'm working with words and pictures right from the beginning, but the picture might not look any different from a letter, because they're just a bunch of scribbles on a page." Then he re-draws those sketches into "a detailed thumbnail with clear handwriting, and that way I can go back and edit." He uses this technique in all of his works. Thompson will draft entire books in ballpoint pen before beginning the final brush-inked versions. [27] He is known for being a perfectionist, and taking a long time writing and illustrating his books. While working on Habibi Thompson scrapped the first half of the book and started over. [28]

Much of Thompsons work has deep religious undertones and messages. He attests this to his Christian upbringing and his many troubles he has had with religious teachings. [29] Habibi deals with issues of anti-Arab, examines the shared heritage of Islam and Christianity. [30] The book also touches on issues concerning capitalism, how everything has become transaction even something as simple and as necessary as water. [31] These are all intensely mature themes, suggesting Craig is aiming for a more mature audience.

Comparisons to the Genre:

Your typical comic book is usually focused on superheroes, and the illustrations never stray too far from simply portraying the narrative in a straightforward manner. In contrast however Craig’s work is more expressive and stylized. Below is a page from Batman: The Killing Joke written by Alan Moore and illustrated by Brian Bolland. [32] Often cited as one of the best Batman stories ever written, it had a big impact on the DC character. [33]

 

You can see it is presented in an easy to read format, and presents the narrative in a very direct way. There is very minimal use of cross hatching, instead large block blacks and colour are used instead. A much more realistic style is used to portray the world, you can see this in the detailed faces of the characters, and the unexaggerated poses and figures the illustrator and chosen to employ. This is in very stark contrast to Craig’s work, he takes much more artistic liberties with his work morphing his characters to create a chosen effect, and using simplified faces to show the raw emotion of his characters.

This goes to show that Craig’s work occupies a different space in the industry; he’s going in a different direction than the typical superhero comic book. Thompsons work includes elements of realism, expressionism and surrealism; often all 3 styles are interwoven, to aid the narrative of his work. This is where he is set apart from the industry standard, and he has carved out a niche in the comic book market for his work.

When compared to earlier comic styles, there are both similarities and differences to Thompsons work. Craig opts to use a very traditional medium of brush and pen to create a distinct black and white style. Modern inventions like computer aided colouring and inking he tends not to use as he prefers the ‘pure’ look of black and white. [34] This harkens back to a time when comics were printed in black and white due to money restrictions. Notable examples of black and white comics are: Bud Fisher's Mutt and Jeff, Judge Dredd, The Beano and The Dandy.

However Thompsons style resembles a combination of art styles, Thompson has acknowledged the influence of graphic artists Taro Yashima, Daniel Clowes, Chris Ware, and Joe Sacco.[35]

Below is a picture of Joe Sacco’s work. Sacco has been active in the comic book industry since the 1980’s. [36] You can see where Sacco has influenced Thompson’s style and even the content of his work; as this image looks very similar to Habibi. Sacco utilizes a cross hatching technique and makes extensive use of brush and ink to create his works, much like Thompson. [37]

However Sacco uses very rigid paneling and text, which looks very industry standard, Craig uses more dynamic shapes to covey his sequences and this is where the two artists differ.

Some of Craig’s work also resembles earlier sequential illustrations, such as political cartoons. Artists such as André François; whose drawings portrayed a strong sense of freedom, much like some of Thompsons work.

 

In the above images we can see clear parallels between André François’s work and Thompsons. The exaggerated proportions and simplified faces, the most striking similarity is the oversized arm of the father and even the shape of the hands. Also the medium employed, simple ink on paper is alike in both images, although Craig uses a much more detailed style of crosshatching compared to François’s simple outlines.

Thompsons work also bears resemblances to Charles M. Schulz’s work. Schulz was an American cartoonist, best known for the comic strip Peanuts (which featured the characters Snoopy and Charlie Brown, among others). He is widely regarded as one of the most influential cartoonists of all time. [38][39]

Schulz’s simplified faces and backgrounds closely resembles that of Craig’s work, and it’s probable since Schulz’s had such a massive impact on the cartoon industry that he had either a direct or indirect influence over Thompsons work. [40]

Daniel Clowes's massively popular work Ghost World is a much more modern parallel to Craig’s work. Ghost world was a comic book series running from 1993 to 1997.

 

Ghost world like Blankets and Habibi is a character driven story, and uses the comic book medium to great effect. Clowes's uses block black colours and simple brush strokes to create a simple yet stylish feel to his work. Close up’s of characters faces help create an emotional connection with the reader, a technique often employed in Thompsons work. Even though it is printed in 3 colours, black, blue and white, it still retains that pure traditional black and white feel. Clowes has said he chose the pale blue colouring for the book because he wanted to reflect the experience of walking home in the twilight, when every house has a television on and the living rooms are bathed in a ghostly blue light. [41]

I also noticed a similarity to Georges Remi’s Tintin. The simplistic expressions and landscapes reminded me of Remi’s Iconic work. The parallel has been made between Thompson’s Habibi graphic novel and Remi’s Tintin, in the way that they are both Orientalists, and share artistic similarities. [42] Orientalism is when a western artist depicts aspects of Middle Eastern and East Asian cultures.

Thompsons work is more expressive than Remi’s more traditionally drawn Tintin, but the way they draw their figures and expressions I find quite similar.

Another more modern comparison can be made between Thompson and David Small. American writer and illustrator who is best known for children's picture books. However where the similarity can be seen most clearly is in Small’s book Stitches: A Memoir and Thompsons Blankets. Both are biographical books about the author’s childhoods.

 

The visual language of Stiches is rooted in old silent movies, with moody washes and brisk line work giving energy and life to the images. [43] Both this book and Blankets are portrayed in black and white, giving them both a pure and traditional style. Also the figures of both works contain certain resemblances, although Small utilizes a more realistic approach. The composition of the images and the way the characters are placed in the scene also bares certain resemblances to Craig’s work. Small chooses to use traditional paneling design, like Joe Sacco’s work and many other comic book artists. Small’s work is very cinematic, and the scenes almost play out in the readers head like a live action movie. On the other hand Blankets is so expressive its plays out like an abstract animation, full of exaggerated movement and characters. This is where Craig stands out from the rest of the industry, choosing to use abstract pattern and page design.

Where Does the Illustrator Fit In?

Thompson’s dramatic use of paneling and pattern is one of the aspects that set him apart. The panels expand and intertwine with both the page and images becoming a part of the story. He uses patterns liberally; to create expressionist set pieces and make what would have been empty space an exciting part of the image.

Below is a perfect example of Craig using pattern in his work to create a more interesting composition. The image still contains a sequence, but it is embedded in to the image, much like an old tapestry.

Craig has managed to create a niche market for himself, he not only appeals to comic book fans, who love the format and style, but also your traditional book reader. His work is clearly aimed at an older audience, due to the mature subject matter his work deals with and discusses. [44] This is evident as his books Blankets and Habibi received considerable attention in the comics and mainstream book press; most critics considered then a milestone in the progress of the American graphic novel, not only in length but also in visual grace and technique. [45] Time stated that Thompson's work "has set new bars for the medium not just in length, but breadth" and listed Blankets as #1 in its 2003 Best Comics of the Year list. [46]

In his latest work Habibi; Thompson’s inspirations ranged from paintings to pottery to tapestries to stories by Islamic authors. An Arabic poem called Rain Song by Badir Shakir al-Sayab had been particularly impactful. He had put it on a light box and painstakingly traced every Arabic letter, simply for the background of a single panel. The artist spent month’s just copying Arabic calligraphy and paintings to get a feel for the Islamic style. [47]

It’s this kind of attention to detail that sets Thompson apart from an industry which is dominated by the superhero publishing houses such as, Marvel, DC and Darkhorse. His work is a refreshing change and much more accessible to a wider audience. The industry has recognized the importance of Craig’s work as he has garnered a number of awards for his works; including 4 Harvey awards and 3 Eisner awards. [48][49]

Bibliography

Arnold, Andrew . (2003). Top 10 Everything 2003: Comics. Available: http://content.time.com/time/specials/packages/article/0,28804,2001842_2001833_2002066,00.html . Last accessed 29th Nov 2013.

Arnold, Andrew. (2003). Curl up with a Great Book. Available: http://content.time.com/time/arts/article/0,8599,464146,00.html . Last accessed 29th Nov 2013.

Bellis, Mary. (Unknown). The History of Comic Books. Available: http://inventors.about.com/od/cstartinventions/a/comics.htm. Last accessed 30th Nov 2013.

Boxer, Sarah. (2000). Charles M. Schulz, `Peanuts' Creator, Dies at 77. Available: http://www.nytimes.com/library/arts/021400obit-c-schulz.html . Last accessed 30th Nov 2013.

Coogan, Peter. (2006). Superhero: The Secret Origin of a Genre. Austin, TX: MonkeyBrain Books.

Clowes, Dan and Zwigoff, Terry. (2002). Q & A with Terry Zwigoff and Dan Clowes. Available: http://www.english.ufl.edu/imagetext/archives/v1_1/zcqa/ . Last accessed 26th Nov 2013.

Damluji, Nadim. (2011). Can the Subaltern Draw. Available: http://www.hoodedutilitarian.com/2011/10/can-the-subaltern-draw-the-spectre-of-orientalism-in-craig-thompsons-habibi/ . Last accessed 29th Nov 2013.

DC Comics. (Unknown). Comics. Available: http://www.dccomics.com/comics?gn=8745 . Last accessed 28th Nov 2013.

De Sá, Leonardo. (2003). Rodolphe Töpffer. Available: http://leonardodesa.interdinamica.net/comics/lds/vb/vieuxbois00.asp?p=intro . Last accessed 26th Nov 2013.

Faber, Michel. (2011). Habibi by Craig Thompson – review. Available: http://www.theguardian.com/books/2011/sep/16/habibi-craig-thompson-review . Last accessed 30th Nov 2013.

Gallivan, Joseph. (2003) Blankets’ statement: Craig Thompson’s new graphic novel is the epic story of his younger self losing his religion. Portland Tribune. 2003-08-15. Last accessed 27th Nov 2013.

Goldstein, Hilary. (2005). Batman: The Killing Joke Review. Available: http://uk.ign.com/articles/2005/05/25/batman-the-killing-joke-review . Last accessed 27th Nov 2013.

Hatfield, Charles. (2005) The Craig Thompson interview. The Comics Journal #268. Last accessed 27th Nov 2013.

McCloud, Scott. (1993). Understanding Comics: The Invisible Art. Northampton, MA: Kitchen Sink Press.

Mechanic, Michael. (2011). Craig Thompson—The Devil Made Me Draw It. Available: http://www.motherjones.com/media/2011/09/craig-thompson-blankets-habibi-interview . Last accessed 27th Nov 2013.

Melt Down Comics. (2012). Craig Thompson at Meltdown Comics. Available: http://www.youtube.com/watch?v=ydWAPCpOfr8 . Last accessed 27th Nov 2013.

Observer Staff. (2011). Craig Thompson Talks Art and Inspiration in Habibi. Available: http://tuftsobserver.org/2011/10/craig-thompson-talks-art-and-inspiration-in-habibi/ . Last accessed 29th Nov 2013.

Richardson, John. (2006). “Foundation Course Cartooning.” London. Cassell Illustrated.

The Comic Archive. (2011). Craig Thompson Talks Shop at Brooklyn Book Festival. Available: http://www.youtube.com/watch?v=Uhplj8cdrbQ . Last accessed 28th Nov 2013.

Tucker, Ken. (2003). Books in Brief: Fiction & Poetry. Available: http://www.nytimes.com/2003/09/14/books/review/0914br-briefs.html . Last accessed 28th Nov 2013.

Thompson, Craig. (2007). Blankets Notes. Available: http://www.craigthompsonbooks.com/2007/05/21/blankets-notebook/ . Last accessed 29th Nov 2013.

Thompson, Craig. (2012). Where the Story Lives. Available: http://nwbooklovers.org/2012/02/08/where-the-story-lives-a-graphic-essay-by-2012-pnba-award-winner-craig-thompson/ . Last accessed 29th Nov 2013.

Konigsberg, Eric. (2009). Finding a Voice in a Graphic Memoir. Available: http://www.nytimes.com/2009/09/07/books/07small.html?_r=5& . Last accessed 30th Nov 2013.

Unknown. (2013). Previous Awards & Nominees. Available: http://www.harveyawards.org/previous-awards-nominees/ . Last accessed 27th Nov 2013.

Unknown. (2004). Will Eisner Comic Industry Awards. Available: http://www.hahnlibrary.net/comics/awards/eisner04.php . Last accessed 30th Nov 2013.

Unknown. (2010). Joe Sacco. Available: http://www.drawnandquarterly.com/artBio.php?artist=a3dff7dd55575b . Last accessed 30th Nov 2013.

Unknown. (2008). A History of the Comic Book. Available: http://www.randomhistory.com/1-50/033comic.html . Last accessed 30th Nov 2013.

Unknown. (2011). Fundamentals. Available: http://www.guernicamag.com/interviews/thompson_interview_9_15_11/ . Last accessed 27th Nov 2013.

Unknown. (2003). Blankets. Available: http://www.topshelfcomix.com/catalog/blankets-new-edition-softcover/762 . Last accessed 29th Nov 2013.

References

1.      Richardson, John. “Foundation Course Cartooning.”
2.      Unknown. A History of the Comic Book.
3.      Richardson, John. “Foundation Course Cartooning.”
4.      Unknown. A History of the Comic Book.
5.      Bellis, Mary. The History of Comic Books.
6.      De Sá, Leonardo. Rodolphe Töpffer.
7.      Unknown. A History of the Comic Book.
8.      De Sá, Leonardo. Rodolphe Töpffer.
9.      De Sá, Leonardo. Rodolphe Töpffer.
10.   Bellis, Mary. The History of Comic Books.
11.   Bellis, Mary. The History of Comic Books.
12.   Unknown. A History of the Comic Book.
13.   Unknown. A History of the Comic Book.
14.   Coogan, Peter. Superhero: The Secret Origin of a Genre.
15.   Unknown. A History of the Comic Book.
16.   McCloud, Scott. Understanding Comics: The Invisible Art.
17.   Unknown. A History of the Comic Book.
18.   Arnold, Andrew. Curl up with a Great Book.
19.   Mechanic, Michael. Craig Thompson—The Devil Made Me Draw It.
20.   The Comic Archive. Craig Thompson Talks Shop at Brooklyn Book Festival.
21.   The Comic Archive. Craig Thompson Talks Shop at Brooklyn Book Festival.
22.   Tucker, Ken. Books in Brief: Fiction & Poetry.
23.   Arnold, Andrew. Curl up with a Great Book.
24.   Arnold, Andrew. Curl up with a Great Book.
25.   De Sá, Leonardo. Rodolphe Töpffer.
26.   De Sá, Leonardo. Rodolphe Töpffer.
27.   Hatfield, Charles. The Craig Thompson interview.
28.   Observer Staff. Craig Thompson Talks Art and Inspiration in Habibi.
29.   Unknown. Fundamentals
30.   Faber, Michel. Habibi by Craig Thompson – review.
31.   Faber, Michel. Habibi by Craig Thompson – review.
32.   DC Comics. Comics.
33.   Goldstein, Hilary. Batman: The Killing Joke Review.
34.   Thompson, Craig. Blankets Notes.
35.   Gallivan, Joseph. Blankets’ statement: Craig Thompson’s new graphic novel is the epic story of his younger self losing his religion.
36.   Unknown. Joe Sacco.
37.   Faber, Michel. Habibi by Craig Thompson – review.
38.   Boxer, Sarah. Charles M. Schulz, `Peanuts' Creator, Dies at 77.
39.   Faber, Michel. Habibi by Craig Thompson – review.
40.   Boxer, Sarah. Charles M. Schulz, `Peanuts' Creator, Dies at 77.
41.   Clowes, Dan and Zwigoff, Terry. Q & A with Terry Zwigoff and Dan Clowes.
42.   Damluji, Nadim. (2011). Can the Subaltern Draw.
43.   Konigsberg, Eric. Finding a Voice in a Graphic Memoir.
44.   Faber, Michel. Habibi by Craig Thompson – review.
45.   Faber, Michel. Habibi by Craig Thompson – review.
46.   Arnold, Andrew. Top 10 Everything 2003: Comics
47.   Observer Staff. Craig Thompson Talks Art and Inspiration in Habibi.
48.   Unknown. Previous Awards & Nominees.
49.   Unknown. Will Eisner Comic Industry Awards.

Sequential Project Artist Research

Sequential Illustration Research:

Blankets:

‘Blankets’ is an autobiographical graphic novel by Craig Thompson, published in 2003. ‘Blankets’ has had a lot of inspiration of my sequential project. Craig Thompson demonstrates both amazing art and storytelling, in this beautifully woven tale of the troubles of come of age.

I particularly liked his use of panel boarders, and the way he uses different types of panel sizes in order to pace the reader. Allowing for dramatic pauses, and quick witty dialogue, that plays out in the imagination almost in a film like fashion (Well, at least for me it did).

In an interview I watched he explains what he called the “Breathers”. At the end of every chapter the pages become increasingly sparse, until one small image is left for a whole page. This gives the effect of the chapter winding down, and helping the reader understand a chapter is coming to a close. It’s a chance for the mind to think back over the previous chapter before moving on to the next.

 

It’s a powerful technique that makes the book much more interesting to read. The whole book is full of interesting panel designs, and the panels themselves become a part of the art and story.

Another interesting aspect of this book is the transitions between a traditional comic book style, and a more abstract art style that seems to focus on patterns and shape. It gives the book a really interesting dynamic, helping the reader visualize both the chaos and beauty of the narrators mind-set.

In this image you can see Thompson using vertical panals to empithise the tree imagery. I also think it could be referencing heven and hell, since ‘Blankets’ has some religious undertones. The double page spread it also very symetrical, making it pleasing to the eye and connecting the pages and giving the story flow and pace. The use of panels in the image help separate the characters abstract thoughts about guilt and religion from the actual main body of the story. It helps to keep the narrative understandable.

 

This illustraion takes up a whole page, and is an example of Thompson using abstact imagery to describe more accuratly how the characters in the story are feeling.

 

This image shows how Thompson uses panels and pacing to help punctuate the story. This page is explaining what it was like to move out of his parents house. The page on the right is especially powerful thanks to the large empty space underneath the panel. It empathizes the emptyness of the characters room. The use of the lonely small text at the bottom of the page, also adds to this point.

 

I want to try and intertwine Thompsons expert use of paneling and pacing into my own sequential work.

http://www.youtube.com/watch?v=ydWAPCpOfr8 (Interview with Craig Thompson)

Mark Crilley:

An American illustration and writer, best known for his work in manga style comics. I really like Crilleys work, especially his attention to detail, which is his hallmark.

In this double page spread from Brody’s Ghost you can really see Crilleys detailed style. His use of atmospheric perspective adds a really cool sense of depth and ‘smog’ to the image, adding to the futuristic city feel. This big double page spread also helps the narrative, bringing us out of the action and story for just a moment to catch a breath and give the setting some personality. The main characters can still be seen however as two dots in the building on the right, middle floor.

 

This image again demonstrates the use of panelling in comics, it’s not as abstract as ‘Blankets’ but it still aids the action and story. The horizontal long panels reflect the character lying down in his bed. Giving the page a very slow feel, just like the character slowly getting out of bed.

 

I want to use marks use of depth and detail in my own work, and try to recreate the epic feel of his double page spreads.

http://www.youtube.com/watch?v=Csbgkb1vhp0 (Mark talking about how to layout pages)

Copper:

Copper is a web-comic series that I’m particularly fond of. I really like the style and way it is presented, it’s very clean cut, and pleasing to look at and read.

Each episode takes place over only 1 large page, making it almost look like a piece of art in its own right. Each is beautifully coloured, and looks very vibrant.

 

Below is a link to the artists process, I want to study this process and see if I can work it in to my own project, especially the inking and colour aspects.

http://www.boltcity.com/workshop/copper_tutorial/ (The process of making a Copper comic)

Animals Again

Still trying to draw animals :)

Figure Drawing and Violins

In my never ending quest to improve my figure drawing, this week I drew a women playing the violin. I also continued to look and study Andrew Loomis's book (Figure Drawing For All It's Worth).

Guitarist In Movement

Music is an emotional thing, it has energy and soul. A good musician will 'feel' the music, and as a result their whole body will move with the rhythm. Below is a series of drawings of Andy McKee performing Drifting (look it up on YouTube, it's amazing).

I did a couple of smaller pencil sketches first, before attempting the larger charcoal drawing.

Portraits

Capturing a likeness is one of the hardest things to achieve in a drawing, well at least in my opinion it is. The subtleties of the human face are a difficult thing to recreate. This is what I've been working on this week: