#LetMeSeeYourEyes text substitution constrained comics exercise

 #LetMeSeeYourEyes; substituting the dialogue of a comics/manga page with imposed lines excerpted from Norwegian cartoonist Jason‘s Why Are You Doing This? (Fantagraphics, 2005; Editions Carabas, 2004, for original French version).

BLURB!

“Great idea for an exercise (the source is impeccable, of course!). The examples work really well, and the Peanuts page shows how this principle can be expanded on and could even be used for a book-length work made up of quotes, borrowed page layouts, mash-ups, etc.” Matt Madden (February 17, 2018), cartoonist and teacher best known for his book 99 Ways to Tell a Story: Exercises in Style (Penguin), as well as a member of Oubapo (Workshop for Potential Comics), and later a French knight in the Order of Arts and Letters.

January 2018. The sixty-two (3rd and 4th year) students in the Creative Writing for Printed Matter course (sections 10 and 11; “Graphic Writing”) at the International Program (BA) in Communication Management (Faculty of Communication Arts, Chulalongkorn University, Bangkok , Thailand) were provided with a series of imposed lines excerpted from Jason’s comics Why Are You Doing This?: “So… Did you do it? / Sorry? / Was it you who killed that man earlier today? / No. No, it wasn’t. / Let me see your eyes. / All right. Follow me.” After being shown an example (Tintin in Tibet; see below) and as a home assignment, students were given one week to find a comics/manga page in which the dialogue might fit -with the least possible alteration- by substitution.

“The function of relay is less common (at least as far as the fixed image is concerned); it can be seen particularly in cartoons and comic strips. Here text (most often a snatch of dialogue) and image stand in a complementary relationship; the words, in the same way as the images, are fragments of a more general syntagm [sequence of linguistic units] and the unity of the message is realized at a higher level, that of the story, the anecdote, the diegesis […].” Roland Barthes, Rhetoric of the Image (translation S. Heath), in: Image, Music, Text, 1977.

Goals of this warm-up exercise; production of new comics pages by students without any particular artistic training; browsing of dozens of comics pages, and development of the  “image reading” skill by focusing students’ attention on visual motifs in pictures and sequences; development of multimodal literacy through the combination/confrontation of visual (drawings), aural (speech, tone), linguistic (delivery of both “written and spoken” text), gestural (facial expressions/body language/postures) and spatial (spatialisation of text & sequences of adjacent panels) modes; exploration of text/image relationship (anchorage/relay); to stress out the importance of eye contact in drama.

Inspired by a constrained comics page from American cartoonist Matt Madden‘s 99 Ways to Tell a Story: Exercises in Style (2005). And from Will Eisner‘s illustration of “facial postures with a parallel set of statements” (in Comics and Sequential Art). See below.

99 ways template and different image
Left: original template. Right: text from original template, but different images. From Matt Madden’s 99 Ways to Tell a Story: Exercises in Style (2005)”.
EISNER facial expressions
“Expressive anatomy” in Will Eisner’s Comics and Sequential Art, page 110. Poorhouse Press, 1985. ©1985 Will Eisner.

 “[Comics] doesn’t blend the visual and the verbal – or use one simply to illustrate the other – but is rather prone to present the two non-synchronously; a reader of comics not only fills in the gaps between panels but also works with the often disjunctive back-and-forth of reading and looking for meaning.” Hillary Chute, “Comics as Literature? Reading Graphic Narrative”, in: PMLA, 123(2), 2008


WAYDT original
Page from Jason’s comics Why Are You Doing This? (Fantagraphics, 2005). Imposed lines for the exercise were excerpted from panels 6 to 12.
tibet subst original
Example provided to the students: original (half-) page of Tintin in Tibet by Hergé; before text substitution.
tibet subst Jason
Example provided to the students: (half-) page of Tintin in Tibet by Hergé after text substitution (by yours truly) of the imposed lines excerpted from Jason’s Why Are You Doing This?.

Commenting on  Gunther Kress’s Multimodality, Jacobs notes that linguistic, visual, audio, gestural, and spatial elements combine in comics narratives and that, “[taken] together, these elements form a multimodal system of meaning making.” (“More than Words: Comics as a Means of Teaching Multiple Literacies”, in: The English Journal, 96(3), 2007.


1. Text substitutions by CommArts students; without any order/speech balloon alteration (except for an additional ellipsis, or “…”, in a couple of pages)

00 SHERLOCK subst
Text substitution by CommArts student Mint (Sirivadee) in a page from the manga adaptation (Titan Comics) by mangaka Jay of the TV series Sherlock.
Sherlock Original
Original page (before text substitution).
00 POKEMON subst
Text substitution by CommArts student Golf (Sorasak) in a page from the manga Pokémon Adventures v.34 (VIZ Media) by mangaka Hidenori Kusaka (script) and Satoshi Yamamoto (art).
POKEMON Original
Original page (before text substitution).
00 ZITS subst
Text substitution by CommArts student Ben in a Zits comic strip by Jerry Scott and Jim Borgman.
ZITS original
Original page (before text substitution).
00 CONAN subst
Text substitution by CommArts student Prim in a page from the manga Case Closed (or Detective Conan; VIZ Media) by mangaka Gosho Aoyama.
CONAN original
Original page (before text substitution).
00 DISNEY subst
Text substitution by CommArts student Erin in a page from the Disney fan comic, or doujinshi, Disney High School (featuring Rapunzel and Quasimodo as siblings) by Morloth88.
MODEL DISNEY
Original page.
00 UZUMAKI
Text substitution by CommArts student WIN in a page from the manga Uzumaki (VIZ Media) by mangaka Junji Ito.
UZUMAKI original
Original page (before text substitution).
00 ONE PIECE subst
Text substitution by CommArts (Taiwanese exchange) student Edd in a page from the manga One Piece (VIZ Media) by mangaka Eiichiro Oda.
One piece original
Scanlated page (before text substitution).
00 SIMPSON Subst
Text substitution by CommArts student Plawan in a page from the comics series Bart Simpson’s Treehouse of Horror (Bongo Comics).
Simpson Original
Original page (before text substitution).
00 Batman bernet
Text substitution by CommArts student Yaiyaa (Creative Writing, 2016) in a page from the comics Batman: Blackout (“1940’s Catwoman”, DC Comics, 2000) by Howard Chaykin (script) and Jordi Bernet (pencils).
Original Batman bernet
Original page (before text substitution).
00 Cyanide.jpg
Text substitution by CommArts student Mark in a strip from the webcomic Cyanide and Happiness (written and illustrated by Rob Den Bleyker, Kris Wilson, Dave McElfatrick and formerly Matt Melvin).
MODEL Cyanide
Original strip (before text substitution).

2. Text substitutions by CommArts students; respecting the order of the imposed lines but not their strict succession (distribution of the imposed lines before and after text  retained from the original comics page). 

00 SNOOPY Subst
Text substitution by CommArts student Por in a Peanuts comic strip by Charles M. Schulz. Retaining the two original speech ballons “Right” in panels 9 and 10.
Snoopy Original
Original page (before text substitution).
00 BONBONZAKA KOUKOU
Text substitution by CommArts student Sean in a page from the manga Bonbonzaka Koukou Engekibu (1992) by mangaka Takahashi Yutaka. Retaining the two original speech ballons “Damn” and “Da…” in panel 3.
MODEL BONBONZAKA KOUKOU
Original scanlation (before text substitution).
00 Mickey
Text substitution by a CommArts student (Graphic Writing, 2015) in a page from Mickey Mouse and the World to Come: The Sinking of Illusitania (Boom! Kids, 2010) by Andrea Castellan (aka Casty). Retaining various two original speech balloons.
Mickey Original
Original page (before text substitution).
00 Wotaku ni Koi ha Muzukashii subst
Text substitution by CommArts student Nymph in a page from the manga Wotaku ni Koi ha Muzukashii (It’s Difficult to Love an Otaku) by mangaka Fujita. Retaining various speech ballons, and adding an ellipsis (“…”).
Wotaku ni Koi ha Muzukashii original
Original scanlation (before text substitution).
00 CEREAL
Text substitution by CommArts student Pat in a page from the webcomic Saturday Morning Breakfast Cereal by Zach WeinersmithRetaining various speech ballons.
Original Cereal copy
Original strip (before text substitution).
Was it you, comics
Text substitution by CommArts student Boss in a page from the comics Immortal Iron First issue 16 (Marvel Comics) by Matt Fraction (writer) and David Aja (penciller). Retaining the original speech ballon “Noooooo” in panel 4.
Was it you, comics
Original page (before text substitution).
00 KINDAICHI subst 2
Text substitution by CommArts student Poon K. in a page from the manga The Kindaichi Case Files (Tokyopop) by mangaka Yōzaburō Kanari and Seimaru Amagi (writers) and Fumiya Satō (art). Retaining the original speech ballon “I’m amazed by your work” in panel 4.
KINDAICHI original
Original page (before text substitution).
00 Grumpy Cat
Text substitution by CommArts student Tip in a page from GRUMPY CAT AND POKEY (Dynamite; writers Ben Fisher, Derek Fridolfs, Ilias Kyriazi; and artists Ken Haeser, Ilias Kyriazis, Steve Uy). Retaining various speech balloons, and with additional ellipsis (“…”).
Original Grumpy Cat
Original page (before text substitution).
00 Superman
Text substitution by CommArts student Mos (Creative Writing, 2016) in a page from Superman #14 (The Invention Thief, DC Comics, 1942), by Jerry Siegel & Joe Shuster, and Leo Nowak. Retaining various original speech balloons.
Original Superman
Original page (before text substitution).
00 NARUTO subst
Text substitution by CommArts student Mon in a page from the manga Naruto (VIE Media) by mangaka Masashi Kishimoto. Retaining the original sound effect “SHWUUU” in panel 5.
NARUTO Original
Original scanlation (before text substitution).
00 TinTin and Alph-Art
Text substitution by CommArts student Mo (Creative Writing, 2016) in a page from Tintin and Alph-Art, inked and colorized by Yves Rodier based on (unfinished) pencilled page by Hergé. Retaining the original speech balloon (“?”) in panel 6.
Original TinTin -24- TinTin and Alph-Art - 01
Original scanlation (before text substitution).
00 QUEST subst
Text substitution by CommArts student TG in a page from Edmund Finney’s Quest to Find the Meaning of Life – Volume 2 (EQ Comics) by Dan Long. Retaining various original speech balloons.
Original Quest
Original strip (before text substitution).

 

3. Text substitutions by CommArts students; without order alteration, but with additional bubbles.

 

00 cat vs human
Text substitution by CommArts student Note in a page from Cat versus Human by Surovec Yasmine. Retaining various original speech balloons, and with additional bubbles.
Original cat vs human
Original page (before text substitution).
00 SAPHIE
Text substitution by CommArts student Pitchii in a page from the webcomics Saphie the One Eyed Cat by Joho. Retaining various onomatopoeiae, and with additional bubbles.
MODEL SAPHIE
Click on the page to reach the original webcomics.

 

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“Managing Creativity for Communicative Innovation” course (Jan-Apr 2017)

The “Managing Creativity for Communicative Innovation” course (Communication Management, International Program, Faculty of Communication Arts, Chulalongkorn University, Bangkok, Thailand) has three main goals:

1) select, summarize and partly translate 9 Thai alternative comics, and contact a foreign publisher to get them signed abroad.

2) Publish, promote and distribute our own zine gathering the constrained comics composed by former “Graphic Writing” CommArts students.

3) Organize an exhibition of the “Traumics” (Comics on Trauma) composed by CommArts & CommDe (Program in Communication Design, Department of Industrial Design, Faculty of Architecture, Chulalongkorn University) students.

OFF3
First special guest: khun Peataya Werasakwong, CEO of Kai3 (a brand of tee-shirts whose designs are extended into zines, and an indie comics publishing house), and author of the graphic novel “Pandism: Virus Panda.” ขอบคุณมากๆครับ khun Peataya!
20x26 00 CommDefb
Second special guest: Belgian cartoonist & illustrator Ephameron for an afternoon of Comics Art Appreciation (with comments and tips). Students from the International Program in Communication Design (CommDe, Department of Industrial Design, Faculty of Architecture, Chulalongkorn University) presented their Traumics (or “Comics on Trauma”) in front of Ephameron and my CommArts students in order to select the trauma-related graphic narratives to be displayed in the exhibition. Bedankt Eva! ขอบคุณมากๆครับ CommDe for inviting Eva in the first place! This project was partly inspired by the literary educational comics produced by the award-winning non-profit (and our partner) PositiveNegatives.
10x13 12b
Ephameron giving comments and advices to a team of CommDe students presenting their Traumics (or “Comics on Trauma”).
002
Third special guest (or rather host): Spanish cartoonist, curator & illustrator Carla Berrocal offered us a private tour of the PRESENTES comics exhibition (Spanish Female Cartoonists of Yesterday and of Today). Discussion on the challenges (selecting pages, copyright issues, pairing different artists by themes or motifs…) offered by a Comics Art exhibition. Gracias Carla, Autoras de Cómic, and Maria & Joan from the Embassy of Spain in Bangkok. Thank you HeForShe Arts Week Bangkok, UN Women Asia and Pacific, and BACC (Bangkok Art Cultural Center)!
17273499_10154181613371933_67215199_o
Writing the editorial content of our “Bang Bang You’re Dead” constrained comics zine, inspired by the OuBaPian experimental comics by Lewis Trondheim & Jean-Christophe Menu. Trying to explain, as clearly and shortly as possible, the multimodal challenges faced by CommArts students while composing their graphic narratives (using “iconic iteration” with limited sets of panels drawn by European cartoonists Pierre Alary, Sacha Goerg & Joseph Falzon specially for our “Graphic Writing” course).
OFF
Masterclass on “Animated Film Festivals and Markets” with Geraldine Baché, head of Animation du Monde (MIFA-Annecy) at the RENDEZ-VOUS FRANCO-THAÏ DE L’ANIMATION (Embassy of France in Thailand, in collaboration with the World Film Festival of Bangkok, Mahidol University International College, SF Cinema and TK Park). Photograph by ‘Rendez-Vous Franco-Thaï de l’Animation.’
OFF2
Thai films selected at the Annecy International Animated Film Festival. During the masterclass on “Animated Film Festivals and Markets” with Geraldine Baché, head of Animation du Monde (MIFA-Annecy) at the RENDEZ-VOUS FRANCO-THAÏ DE L’ANIMATION (Embassy of France in Thailand, in collaboration with the World Film Festival of Bangkok, Mahidol University International College, SF Cinema and TK Park).
20170324_144729
Our fourth special guest; Ms. Pimpicha Utsahajit, Executive Director of Banlue Publications & CommArts alumnus, hold a talk on leading multi-platform content provider Banlue Group, with Banlue Sarn (humour comics magazines “Kai Hua Roh” and “Maha Sanook”), Vithita Animation, Salmon Books (publisher of alternative comics among others), digital platform MiniMore, Salmon House (production house of motion contents), Banlue Books, trendy free magazine Giraffe, or The MATTER and Pixniq among many other innovative content platforms! ขอบคุณมากๆครับ Ms. Pimpicha for the inspiring lecture and case studies (character development & licensing), and sharing with us your experience and expertise in so many fields!
Zine 02
Making Small Press the CommArts way; a Taylorist approach. For reasons beyond their will, my 20 students had only 3 hours -including their zine-making formation- to produce the 300 copies of the inaugural issue of our Constrained & Collaborative Comics Zine Series “Bang Bang You’re Dead!“. Challenge almost met with 281 issues produced, whilst avoiding too many flawed copies and finger losses…
Bang FB
The inaugural issue of the comics zine series “Bang Bang You’re Dead!” edited & published by the students of the “Managing Creativity for Communicative Innovation” course, and collecting the experimental, thrilling & collaborative works of 8 CommArts students with European cartoonists Pierre Alary, Sacha Goerg & Joseph Falzon, under a cover by Thai cartoonist Note Piruck and with a free ‘Phi Krasue’ postcard by French cartoonist Tamia Baudouin (only for the first printing)! Limited to 300 copies, the zine will be distributed worldwide thanks to our French partner L’Association ChiFouMi! Our thanks are also due to khun Satya @Rabbit4Print, and Thai cartoonist Tunlaya Dunn for the logo design & inspiration!
A word from the editorial team: “As evoked in its title, the ‘Bang Bang You’re Dead!’ zine invokes the playful yet serious aspects of constrained comics composition. Based on sets of speechless comics panels drawn especially for their Graphic Writing course by European cartoonists, 34 Thai senior students of the four-year program in Strategic Communication Management at the Faculty of Communication Arts, Chulalongkorn University (Bangkok, Thailand), duplicated, reframed, and combined the imposed drawings -with addition of textual elements- to create imaginative stories of their own. Without any particular drawing formation and facing the numerous and overlapping challenges posed by comics composition, our Faculty seniors were able to overcome the constraint of iconic iteration by thinking out of the box, using their creativity to cross formal, modal, cultural, and national borders.”
20170331_135607
Field trip with the editorial & production team of the inaugural issue the EuroThai Comics Zine “Bang Bang You’re Dead!” at the Bangkok International Book Fair (Queen Sirikit National Convention Center). The zine was on sale at the booth of the Thai indie comics publishing house Kai3. ขอบคุณครับ khun Peataya. Followed by a visit of the booths of publishers who collaborated on our projects (Salmon Books, Typhoon Studio & LET’S Comic). ขอบคุณครับ!
20170412_071118
Copies of the inaugural issue of our EuroThai Experimental Comics Zine Series “Bang Bang You’re Dead!” have safely arrived in Belgium. The zines are now available at the comics bookstore Multi BD in Brussels.
20170421_173017
The inaugural issue of our EuroThai Experimental Comics Zine Series “Bang Bang You’re Dead!” is now available at the comics bookstore Multi BD in Brussels, Belgium.
20170407_151908
Second objective of the “Managing Creativity for Communicative Innovation” course: to promote contemporary Thai Comix abroad. 8 teams of students. 8 Thai comics profiles (with summary, chapters translated into English, author bio, and pros & cons of each book to fit the French market and a specific publisher’s catalogue). 8 Thailand/France Skype sessions with Serge Ewenczyk, founder of the French independent comics publishing house Çà et Là. Proud of my students who did a tremendous and critical work there! Merci Serge pour ta disponibilité et ta marque d’intérêt! ขอบคุณมากครับ to the Thai editors for the complementary copies! Now, let’s all cross our fingers and see what the Future holds for Thai Comics! (On the picture: Serge Ewenczyk & the “Loser Rainbow (by Puck)” Team). 
Poster Traumics DEF
The exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displayed 18 short Trauma-related comics narratives all composed by students in the Faculty of Communication Arts, the Communication Design Program (Faculty of Architecture) and other Departments at Chulalongkorn University (Bangkok, Thailand). From refugee stories to household accidents, from domestic violence to genocides (Congo, Shoah, Khmer Rouges), being fictional, autobiographic or based on victim testimonies, these narratives intend to raise awareness on social and human rights issues. Inspired by the literary educational comics produced by the award-winning non-profit -and our partner- PositiveNegatives, this project also highlights the ability of Comics Art -as a medium of fragments- to visually reveal how the minds of the victims were broken into pieces. As mentioned in the introduction to the Call for Papers for the conference Traumics: Comics Narratives of Trauma, comics -“with their syntax of panels, gutters, and pages and their use of the evocative power of image in conjunction with the precise communication of text- (…) are uniquely suited to delivering narratives of trauma.”
The opening night was held on the 5th of May 2017 from 5pm until 7pm at the first floor of the Faculty of Communication Arts (Chulalongkorn University), in the presence of our guest of honour Songsin Tiewsomboon, author of famous graphic novels such as “Nine Lives” and the series “Beansprout and Firehead” & “Bobby Swingers.”
The exhibition “Traumics: a Medium of Fragments for a Shattered Mind” was organized and curated by the students of the “Managing Creativity for Communicative Innovation” course, Communication Management, International Program, Faculty of Communication Arts, Chulalongkorn University (Bangkok, Thailand).
20170503_075036
Last project for the students of the “Managing Creativity for Communicative Innovation” course; to mount the exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displaying 18 Trauma-related comics narratives composed by students at Chulalongkorn University.
20170505_130706
“Framing – Unframing – Reframing”, or mounting the exhibition “Traumics: a Medium of Fragments for a Shattered Mind” displaying 18 Trauma-related comics narratives composed by students at Chulalongkorn University.
20170505_233420
Opening of the “Traumics: a Medium of Fragments for a Shattered Mind” in the presence of our guest of honour Songsin Tiewsomboon, author of famous graphic novels such as “Nine Lives” and the series “Beansprout and Firehead” & “Bobby Swingers”, of graphic designer Ms. View, and of Thai alternative comics pioneer Suttichart Sarapaiwanich (“Joe the Sea-Cret Agent”).
20170506_080255
With polyptych, iconic iteration, bleed, braiding, narrative use of colours, parallel timelines, palindrome-like/mirror device, loop format, and other experimental features, or being straightforward visual narratives, the 18 Trauma-related short comics composed by students at Chulalongkorn University make full use of the hybrid art form to depict the victims’ shattered and alienated minds (and bodies), in order to raise awareness on social and human rights issues (from refugee stories to household accidents, from social conformity to domestic violence or genocides; being fictional, autobiographic or based on victim testimonies). I couldn’t be prouder by the meaningful work produced by Chulalongkorn University students from various Faculties; most of them being 1st year Thai students (and with a team of European exchange students), some of them without any prior artistic formation, and creating there their first ever comics. I only wish we could have displayed more of the dozens of Traumics created over the past two years. So many were equally deserving to be shown, and they will at some point, when I find the time, over here. To all, your works being displayed or not, artists or exhibition curators from the Mngt Comm Crea Inno course, for your talent and hard work, ขอบคุณมากนะครับ! Aj. Nicolas Verstappen
20170210_151739
Well-deserved rest after 4 intensive months of work! ;^)

“Nailed”, a Silent Graphic Narrative by a Student of the ‘Imaginative Communication’ Course (Nov. 2016)

“Nailed” is a silent graphic narrative by Thai student Rattanakorn (Mim) for the IMGT COMM course (2800217), November 2016. In response to a video (see below) where a young child is the victim of a cruel joke perpetrated by adults, her comics captures how the child’s inner world is shattered by the traumatic psychological abuse and how it will affect his late life.

Description of the Imaginative Communication course: “Methods of conversing emotions, feelings, ideas, values, beliefs and meaning of life through the languages of the imaginative world in the form of poetry, music and songs, literature, drama, film or other creative works of Thai and foreign artists; relationship between science and art of communications; media design for imaginative works; analysis of images and narratives.” This semester’s theme: “Psychic Trauma; To Say the Unutterable”Communication Management, International Program, Faculty of Communication Arts, Chulalongkorn University.

mim-101
Page 1/4
mim-102
Page 2/4
mim-103
Page 3/4
mim-104
Page 4/4

“The Wave”, a Graphic Narrative by Students of the ‘Imaginative Communication’ Course (Nov. 2016)

“The Wave” is a graphic narrative (on the themes of psychological fright, phobia and school bullying) by Thai students Jinwara (Sugar) and Rattanakorn (Mim) for the IMGT COMM course (2800217), November 2016.

Description of the Imaginative Communication course: “Methods of conversing emotions, feelings, ideas, values, beliefs and meaning of life through the languages of the imaginative world in the form of poetry, music and songs, literature, drama, film or other creative works of Thai and foreign artists; relationship between science and art of communications; media design for imaginative works; analysis of images and narratives.” This semester’s theme: “Psychic Trauma; To Say the Unutterable”Communication Management, International Program, Faculty of Communication Arts, Chulalongkorn University.

A clever use of potentialities and features of the comics form (layout, composition, design, text/image relationship, iconic solidarity, iconic iteration…) to serve the content.

wave-01
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wave-02
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wave-03
Page 3/4
wave-04
Page 4/4

Reproduced with the authors’ permission. All rights remain to the authors.

“YVES – My Life as a Refugee”, a Graphic Narrative by Chalit & June (April 2016)


A graphic narrative (on the topic of ‘War Trauma’ and/or ‘War Refugees’) by Thai students Chalit Ratapana (Faculty of Communication Arts; adaptation/script) and June (Pareploy Maneerut; Faculty of Political Science; art) – based on the true story of Yves -a Congolese refugee who survived ethnic cleansing- (Sanctuary Australia Foundation) – as an assignment for my Imaginative Communication course (2800217), April 2016.

Update: The Sanctuary Australia Foundation, which offered a safe haven to Yves, has decided to publish the 4-page comics alongside Yves’ original testimony. I guess the Foundation saw -as I did- how Chalit and June were able to capture and to express -skillfully, with power and sensitivity- the plight of an individual and how, at the same time, they grasped and shared the tragic fate experienced by too many. Crossing the borders of the Democratic Republic of Congo, Australia, Belgium and Thailand, crossing comics panel borders, so many boundaries were physically and symbolically overcome… I’m proud of you Chalit & June and I hope your graphic narrative will participate in “engaging audiences in conflicts and displacement crises that seem remote (…), especially when there appear to be no means of relating to the people in the stories” (to quote PositiveNegatives founder Benjamin Dix, see Comic as Art, Education and Advocacy). Thank you Chalit, June and Mark Hallam (from the Sanctuary Australia Foundation). And thank you, Yves, for your painful yet indispensable testimony. Best regards. Nicolas V.

Yves Sanctuary
Screenshot of the Sanctuary Australia Foundation webpage with Chalit & June’s graphic narrative alongside Yves’s original testimony.

Description of the Imaginative Communication course: “Methods of conversing emotions, feelings, ideas, values, beliefs and meaning of life through the languages of the imaginative world in the form of poetry, music and songs, literature, drama, film or other creative works of Thai and foreign artists; relationship between science and art of communications; media design for imaginative works; analysis of images and narratives.” This year’s theme: “Crossing Borders”. Communication Management, International Program, Faculty of Communication Arts, Chulalongkorn University.

yves-01
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yves-02
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yves-03
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yves-04
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“Life Beyond Limitation”, a Graphic Narrative by Titirat (April 2016)


A graphic narrative (on the topic of ‘Crossing Borders’) by Thai student Titirat Sengsakdi – based on the true story of Caroline Casey – for her final individual project in IMGT COMM (2800217), April 2016.

Description of the Imaginative Communication course: “Methods of conversing emotions, feelings, ideas, values, beliefs and meaning of life through the languages of the imaginative world in the form of poetry, music and songs, literature, drama, film or other creative works of Thai and foreign artists; relationship between science and art of communications; media design for imaginative works; analysis of images and narratives.” This year’s theme: “Crossing Borders”. Communication Management, International Program, Faculty of Communication Arts, Chulalongkorn University.

Titirat A
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Titirat B
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Titirat C1
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Titirat C2
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Titirat C
PAGES 3 & 4/8
Titirat D
PAGE 5/8
Titirat E
PAGE 6/8
Titirat F
PAGE 7/8
Titirat G
PAGE 8/8

Below: some preliminary layouts and final pages with interesting composition/aesthetic choices.

Titirat I
Preliminary layout and final version of page 7/8
Titirat J
Preliminary layout and final version of page 8/8
Titirat H
Detail of page 6/8

Reproduced with the author’s permission. All rights remain to the author.

“Ascent”, a Graphic Narrative by CommArts Students (April 2016)


A short graphic narrative by students Jen, Cindy & Zin for the Creative/Graphic Writing course (2800316). The exercise – inspired by a series of pictures by  Belgian cartoonist David Libens – was to mix comics drawings and human actors in photographs. Some inspiration also came from Yūsuke Murata’s Hetappi Manga Research Lab R innovative webcomics presented in class before the exercise. 

Description of the Creative/Graphic Writing for Printed Matter course: “Practice and development of writing skills in many genres for mass media; television, radio and print media. The Creative Writing: Section 10 course aims at deeper understanding of graphic/visual storytelling and text/image relationship through the study of Comics Art History and Aesthetics and the practice of related writing exercisesCommunication Management, International Program, Faculty of Communication Arts, Chulalongkorn University.

g01
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g02
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g03
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Reproduced with the authors’ permission. All rights remain to the authors.