Comments on: Points of Impact – Week 8: How to Get Framed

By: Steve Colle

Steve Colle — Fri, 18 May 2012 13:36:55 +0000

I personally wouldn’t use the term “by proxy” because we are, in actuality, the direct link to knowledge, not the middle man relaying it. You’re good at what you do and I wouldn’t want someone else to steal that from you or lesson your personal or professional impact on the industry with the use of that word. You’re the teacher, the visionary, the man behind the thoughts and actions, the master of what you instruct. You may get reference from another source, but you aren’t a high school teacher relaying the information of (enter writer here) to maintain a curriculum. YOU ARE THE ONE whose mind creates the eloquent flow of verbiage that expresses and explains a new way in which to view the world of our art form.

In other words, give yourself the credit, man!

By: Yannick Morin

Yannick Morin — Fri, 18 May 2012 13:24:31 +0000

The way I see it, one of the best ways to get some “meat” is by apprenticeship. That’s kind of what Points of Impact is: it’s apprenticeship by proxy.

In the old days, artists such as painters and sculptors learned their craft by watching the old masters work and by studying their past production. There’s no reason we can’t do the same with comics. As comic creators, most of us are already comic readers as well. It’d be a shame to not consider our weekly haul as another source of reference material.

By: Steve Colle

Steve Colle — Fri, 18 May 2012 04:50:25 +0000

I take the exact same type of approach in my instruction. My motto is “meat instead of milk”. There are so many reference books out there that give the milk, rehashing the same basic (or even below basic) information. Those who are serious about working in this industry need a bit of technically “raw steak” in their diets in order to truly advance in their craft.

One artist I recently spoke to told me he was entirely instinctual in his work. I’m sorry, but everyone has both in their systems. A draftsperson may be technical, but needs to have a creative bone in his body in order to perform his job effectively, creating previously unimagined shapes and forms for his clientele. The same applies to artists and other creative individuals. I may be able to write a story, but I need to know things like three act structure, character development, “framing devices”, etc. I give it roughly a 75% to 25% ratio. But I understand your approach completely, Yannick.

By: Yannick Morin

Yannick Morin — Fri, 18 May 2012 01:28:26 +0000

Nothing makes me happier than to know someone has learned something reading Points of Impact. Thank you, Steve!

I’m a firm believer myself that a certain amount of theoretical knowledge is necessary in any craft, be it medicine, automobile mechanics, ceramics or comic script writing. Sure, you can get by with an instinctual feel for it, but in my opinion it doesn’t compare with knowing the name of all the bits and pieces as well as how they work with one another.

But hey, it won’t replace raw talent and sheer doggedness either, but it’s still a good start – and a good start is what we’re aiming for here at ComixTribe! As we like to repeat a lot these days: “Start here.”

Now stay tuned for The Proving Grounds tomorrow morning. I have it on good authority that it should be quite the learning experience!

By: Steve Colle

Steve Colle — Fri, 18 May 2012 01:13:34 +0000

Yannick, thanks for this piece on framing devices in literature. You’ve educated me as I’ve always associated the term with art. I was aware of the devices in writing, but wasn’t aware of the descriptive term. Being an editor and instructor, this makes my job a bit easier.

By: Yannick Morin

Yannick Morin — Tue, 15 May 2012 01:45:13 +0000

Gee… uh, thanks, Don!

I guess…

By: DonU

DonU — Tue, 15 May 2012 01:43:02 +0000

I hope you get sick soon, Yannick.

By: Yannick Morin

Yannick Morin — Tue, 15 May 2012 00:26:35 +0000

And I wouldn’t argue with you either because I’m sure it must have SOME redeeming qualities in there somewhere. The publishers at that time surely had a reason for offering it to the (unsuspecting) public.

Tell you what: let’s make this official. I need to produce at least a couple of fill-in articles in case I ever get sick or take a vacation. I’ll do a whole Points of Impact ENTIRELY on YOUNGBLOOD #1: Bullseye, Hit and Miss.

How’s that sound to you?

By: Tyler James

Tyler James — Tue, 15 May 2012 00:06:49 +0000

Oh, I’d argue there’s plenty to be gleaned from both Youngblood and Spawn.

You don’t sell a million copies and not have any redeeming characteristics.

By: Yannick Morin

Yannick Morin — Mon, 14 May 2012 17:54:36 +0000

And that’s why I say they have a HISTORICAL value. There’s no denying the influence early Image stuff had on young creators of the time as well as on the medium itself, but let’s not kid ourselves: it doesn’t hold up to many of the great books written today (or written at the same time, for that matter).

A historical viewpoint is necessary to appreciate a work’s effects on its comtemporaries and the other works that followed. It helps up understand how the medium was shaped by the various forces – human, technical, aesthetic – of that era. It tells us where we come from so we can better understand where we stand today. It’s also great to just reminisce about our enjoyment and sense of wonder as we discovered these works with fresh eyes in their original context.

However, we can’t go back to that time and see these comics as we saw them then. We can only read them today with the sensibilities we’ve developed since those halcyon days.

I own SPAWN from the first issue right up to #50 in one of my longboxes. Teenaged me loved those comics. Adult me however would have to search pretty deep to find anything worthwhile between those pages. That’s because Adult me is looking for something else in comics now.

I’d never throw my SPAWN run away, but I’d never look through it for guidelines on how to write comics either.