I guess that there is a color for the "background" (maybe a different color for different places in the story), and for each character in the stories. The colors of the characters do add up if they appear in the same panel, so each small panel is the color-sum of the characters appearing in it. Is it something like that ?
What I like especially in this work (except that it's always good for the ego when someone gets inspired by one's work) is that even by simplifying the two stories to such a synthetic level, important differences do show up in the way the narrative is developed. Even without reading the two originals, we already see that the rhythm is completely different.
(sorry for my english) That's it : each square is a picture from the original comic, and the colour is determined by the character(s) in it. I mixed when there was several characters (I have to confess that I have been more meticulous for L'Autre fin du monde, because I developed the manner to make it with La Ballata). I can explain more precisely but unfortunately in french. It is a pleasure to see the interest of you all (and above all including one of my main references)
These sort of remind me of an artist ( I can't remember who) who took films and distilled them down to small colored lines. They were sort of crunched and then combined into long color bands that presumably were reflections of the original movie.
The first and most comprehensive source of abstract comics on the web, tracing the history and surveying the contemporary landscape of abstract sequential art.
On Abstract Comics: The Anthology (Currently SOLD OUT):
The artists assembled by Andrei Molotiu for his anthology ABSTRACT COMICS (Fantagraphics, $39.99) push “cartooning” to its limits... It’s a fascinating book to stare at, and as with other kinds of abstract art, half the fun is observing your own reactions: anyone who’s used to reading more conventional sorts of comics is likely to reflexively impose narrative on these abstractions, to figure out just what each panel has to do with the next.
--Douglas Wolk, New York Times Book Review, Holiday Books edition, December 6, 2009 The collection has a wealth of rewarding material... it is a significant historical document that may jump-start an actual new genre.
--Doug Harvey, LA Weekly It becomes a treat to take a page of art - or a simple panel - and consider how the shapes, texture, depth, and color interact with one another; to reflect on how, when one takes the time, the enjoyment one ordinarily finds in reading a purely textually-oriented, narrative-driven written story can - with the graphic form - be translated into something completely different.
--Adam Waterreus, Politics and Prose, "Favorite Graphic Literature of the Year."
...this arresting book is like a scoop of primordial narrative, representational mud. Which is to say, it has vitaminic powers.
--Design Observer
For years, comics (at least American ones) have doggedly refused for one reason or another, to consider other schools of art and beyond mere representation. It's only now we see artists attempting to branch out and try to push at the edge's of the medium's definition. As such I found Abstract Comics to be a revealing, thought-provoking and genuinely lovely book that I'll be sure to be rereading in the months to come.
wow - these are gorgeous, do you have more information?
ReplyDeletebeautiful. these look like they could be played by a small ensemble.
ReplyDeleteNice, Alex. I feel there is a key to these--the way they are connected to the original texts. What is it?
ReplyDeletebeautiful. thanks
ReplyDeleteI guess that there is a color for the "background" (maybe a different color for different places in the story), and for each character in the stories. The colors of the characters do add up if they appear in the same panel, so each small panel is the color-sum of the characters appearing in it. Is it something like that ?
ReplyDeleteWhat I like especially in this work (except that it's always good for the ego when someone gets inspired by one's work) is that even by simplifying the two stories to such a synthetic level, important differences do show up in the way the narrative is developed. Even without reading the two originals, we already see that the rhythm is completely different.
Thanks for these !
(sorry for my english)
ReplyDeleteThat's it : each square is a picture from the original comic, and the colour is determined by the character(s) in it.
I mixed when there was several characters (I have to confess that I have been more meticulous for L'Autre fin du monde, because I developed the manner to make it with La Ballata).
I can explain more precisely but unfortunately in french.
It is a pleasure to see the interest of you all (and above all including one of my main references)
like it :]
ReplyDeletesomehow the colorcombi's it makes me happy!
These sort of remind me of an artist ( I can't remember who) who took films and distilled them down to small colored lines. They were sort of crunched and then combined into long color bands that presumably were reflections of the original movie.
ReplyDelete