Nemo Classic Comic Library was a magazine published between 1983 to 1990 that hosted an array of comic strips. The format of these comics is very specific, with minor tweaks.
The first thing I noticed is the format. All of the comics I saw in 3 different issues were in a 3x4 (12 panel) with a 3 panel horizontal header format. It's a simplistic form that really minimizes the content in each strip, but it is very consistent. The next thing I noticed is that all of the comics, along with all of the pages, are in black and white. The cover on the other hand were always in color.
Charles Schultz is an icon when it comes to comics, his most well known comics was Peanuts. His earlier comics are done in black and white with very little filled black spots (which shows a lighter side to his art). His artwork is also very simplistic, in the sense that the stroke likes are very simple and fluid, and with very little detail. The panels are also very simplistic. None of the art ever breaks out of the panels, and they are always square or rectangular. I think the reason why Schultz was so successful in the making of Peanuts was the simplicity of everything; art style, panel layout, dialog and even the subjects in the comic (Children, snoopy, school, etc...), it becomes very relatable to most younger children, which I think was the target audience for this particular comic.
Bill Watterson's Calvin and Hobbes is all time classic (at least to me). Growing up, it use to be my favorite comic to read and when I got into drawing, I use to try to mimic Watterson's style. Although Calvin and Hobbes started off black and white, it eventually went to color later down the road. I think what really connects me to his work is the way he shows emotions (in characters, body language and dialog). In the characters, facial expressions drive most of the humor and story telling. For example, when Calvin takes a bite of food that he hates, the way he is animated to spit it out is very over exaggerated and it shows. The body language is also unique in the way he shows movement in both characters and objects. The last in the dialog, which I find to be suited for kids, but not an audience as young as Peanut's is targeted for. With the way each story is told, along with the words used, it makes me feel as if the comic is targeted more towards middle schoolers to early high schoolers. Even though I really appreciate the way Calvin and Hobbes becomes colorized later, I still believe the black and white version is still holds strong. I think that the colorization of the comic gives it a bit of depth and helps paint the picture of some comics (ie. When Calvin and Hobbes are laying in bed with the covers pulled up over half their faces and the dark purple shade is used for darkness), but with the black and white, you're almost forced to use your imagination to set the tone of the comic, almost like an unspoken word. The last thing I noticed is the way the comic strips are laid out. Yes, most of the panels are constructed as squares or slightly stretched squares (besides the opening panel, which is roughly 2-3 panels long), Watterson actually breaks out of the panel and almost leaves a "window open" into the world of Calvin and Hobbes. Which when thinking about it is actually very brilliantly done because with those specific panels, you're not reading a comic strip anymore, but looking into Calvin's world and experiencing it without a square boarder restricting what the artist wanted you to see.
No comments:
Post a Comment