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Download e-book for kindle: Auschwitz (Graphic Novel) by Pascal Croci

By Pascal Croci

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Sample text

In fact, I use the computer quite a bit, especially for scanning, archiving, and coloring my work (via Adobe Photoshop), not to mention pre-press production (via Quark and, soon, InDesign). Today, Photoshop has turned into a necessity—if not for the cartoonist, then for the person(s) doing the actual production work in preparation for the printing process. The intent of this course is not to describe the functions of these programs, although they will be discussed briefly, but rather to focus on developing our creativity first and foremost.

How about a caption, with quotation marks? That seems nice, because it could suggest both speech and an internal monologue. We could also have something in the composition that directs our eye toward Holden—some lines, or even an arrangement of lights and darks, that lead our eye right to him. And we will draw a mouth on him but not on the other characters, how about that? Note also that he occupies (roughly) the center of the space, which helps us focus our eyes on him. But we do not place him directly into the exact center, which would kind of deaden the composition and any sense of movement or visual interest.

HOMEWORK ASSIGNMENT 3 Let me first state that James Kochalka must be given credit for this brilliant idea. Using your sketchbook as a diary, draw one four-panel strip per day. Figure 3. Sample drawings for today’s exercise. 40 CARTOONING You should have 6 “daily strips” by the time of next week’s lesson. Identify or title each strip with the date. The strips can be drawn loosely, but make sure they are clear and legible. Aim for honesty first and foremost, but also take some care to consider graphic simplicity, clarity, and consistency.

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Auschwitz (Graphic Novel) by Pascal Croci


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