![OS POSITIVOS](https://4.bp.blogspot.com/-zKKfxaIfpU8/Wv1aApfmmBI/AAAAAAAARbk/X7F-ldyPjjE3TCXHeH3HZ2xeVNDugZDCgCKgBGAs/s1600/x_header-200.png")
Culture, tradition, ideology, personal qualities, etc., will all influence the choice of resources artists will make.
Antes: assim como os próprios resources...? De nuestros irmãos, para o nosso mano a entrevistar um américas, para um américas a entrevistar de vietnamita publicado por uma editora espanhola: dêmos a volta ao mundo? Prosseguindo de arte e tecnologia, terminámos a nota anterior no "fundamental role of the publication format":
The comics today are very diverse: they do not only vary in style and content, but also in terms of production and consumption. One must not only take the authors’ creativity into account, but also the way in which these comics are published. The format will not and cannot explain every aspect or detail of the comic concerned, but at a fundamental level it is responsible for major characteristics. The format will eventually influence the total concept of the comic, not only the style, but also the content. The material aspects of the format will determine the page layout, the choice between monochrome or colour, the type of story, the way in which it will be told, etc.
Pascal Lefèvre in "The Importance of Being 'Published: A Comparative Study of Different Comics Formats" 2000
Entre observações mais ou menos evidentes -
- Whether an artist gets only one row of panels in a newspaper, or must confine his story into a comic book of 32 pages, or gets more than one hundred pages in a manga or graphic novel, format will always be decisive.
- A format is not only defined by its materiality (the size, the paper quality, etc.) but also by its temporal aspects (regularity) and editorial choices.
... há duas que nos ressoam mais urgentes às teses.
i) A intersecção tecnologia e cultura popular:
The readers know the format’s advantages and disadvantages. When someone buys or reads a certain comic, he can detect from the format - even without knowing the characters or the author - what he can expect more or less from that particular comic. Different formats even stimulate different manners of consuming: a manga periodical is quickly read and thrown away after reading, while a European album will be kept and read several times.
Pascal Lefèvre in "The Importance of Being 'Published" 2000
ii) A intersecção ("cegueira") tech & crit.
The format should be taken into account when judging a work. As obvious as it may sound, this fundamental aspect is often neglected in comics criticism.
Pascal Lefèvre in "The Importance of Being 'Published" 2000
O autor ilustra com um case study dos diferentes formatos trabalhados por Edmond Baudoin mas é aqui que abandamos a sua contribuição e apresentamos um exemplo mais actual nos domínios que nos inquietam. Passe-palavra a Frank Santoro nas suas próprias teses em risograph, que com o seu chapéu de crit posto não esconde a sua adulação à obra de John Phams, justamente pelo formato da publicação.
A Ode ao livro, arsty, vs aquilo dos mercados das massas...
The book manages to translate that untranslatable magic of a handmade risograph printed book into a boutique offset hardcover book for the "mass market."
This collection also manages to mimic the magic of the self-published magazines and to transcend them in a way because with hardcovers and printed "pockets" on the endpapers.
in "John Pham’s J + K" 23 jan 2018
Tamanho entusiasmo pelo formato que nos parece querer "julgar o livro pela capa", quase literalmente... E, again, indies do it better. Uma afirmação que não teríamos qualquer hesitação em subscrever não estivesse minada de outras considerações – para outro dia.
It’s a feat to put it all together and serve it up in a smooth package like this. I’ve never seen anything like it, honestly, because I know how hard it is to translate handmade zines into hardcover books. Bravo.
in "John Pham’s J + K" 23 jan 2018
Infelizmente parece mesmo julgar o livro pelo objecto – a sua leitura, dizem-nos, é fracamente secundária.
Apparently one can mail-order an English translation booklet from the publisher. Don’t let the fact that the book is in Spanish discourage you from ordering it. This is one of those books that is so well made (printed in Spain!) that I wouldn’t care what language it was written in; it’s that beautiful of an object.
in "John Pham’s J + K" 23 jan 2018
Tecnologia.
Aqui citamos da entrevista – outra!- a Ben Jones, que seguiremos brevemente. Da importância da técnica na produção artística:
A majority of cartoonists […] are still using digital tools to imitate old coloring processes. John has invented a whole new workflow. He’s created brushes that mimic how we would use pencils, and he’s using the risograph, hacking into it using all this digital technology, it’s a lot like silkscreen, but it’s more powerful than silkscreen because the risograph and Photoshop are talking to each other. So he’s mixing the two worlds.
in "John Pham’s J + K" 23 jan 2018
Arte. Digital. Sabemos como corre o resto da estória: não há uma. Os pós-literários evitam algo tão corriqueiro como narrativas a atrapalhar uma boa banda desenhada. Compreenda-se, os seus leitores não perdem muito tempo com essas leituras, preferem admirar o objecto. Compare-se, a descrição do "texto":
It’s mostly funny comic-strip-type decompressed gag humor. Light and playful. The strips do get deep in the emotional sense sometimes. Meaning the characters, through their adventures, transmit their bond and the bond they have to others, quite touchingly.
in "John Pham’s J + K" 23 jan 2018
...e a descrição da arte:
It seems to me that he took his printed strips and scanned them and touched them up to loomore consistent than the slightly inconsistent riso comic magazines. Like every color is amped up and right on the money. No mis-registration of the printing or streaking or digital effects that look like mistakes. Very smooth and very nice. And simply gorgeous bigfoot cartoony drawing. His approach here, by his own account, channels Suiho Nagawa’s aesthetic by unifying or harmonizing, the color and the line. The lines are made by overprinting colors. Not by a traditional, single "blackline." So the lines which contain the colors have different values or different sounds, if you will. The effect being one of a warm gauzy magic hour firmly rooted in cartoon symbolism. Meaning it just works on your eyes and brain in a way "blackline" based comics do not. Beyond the softness of the color, there is a whole language of symbolic color forms perfectly harmonized with the linework that elevates Pham’s work into new territory I’ve never seen in contemporary comics. In part because of the technology and in part because of the fusion-type comics John is creating.
in "John Pham’s J + K" 23 jan 2018
Pois.
Fechando entrada por hoje,
Conclusão de Frank Santoro.
John Pham is staking out new territory in contemporary comics.
Um território que, concluímos nós, não estará vazio de boas intenções por muito mais tempo. Se primeiro estranharam o digital, cremos que em breve estaremos em risco dos nossos artistas produzirem um excesso de contemporaneidades nessas frentes. Termina Pascal Lefèvre, ano 2000.
Sometimes artists need time to understand the potential of a medium.
Quase vinte anos depois e o entusiasmo começa a ser tanto que até nós estranhamos... Next: desse(s) excesso(s), art & tech wise continued.
hum... "todo el mundo perdía la cabeza"...? debo haber fallado esa fase de entusiasmo loco por la bd!