![]() The graphic design of the page, in other words, the number, position and size of the panels, is key. Generally, in comics, the relationships between individual images are more important than the images themselves. Now that we’ve seen a few examples of artists and work that have helped to define its aesthetic, it’s time to look at how the Franco-Belgian style is put together visually on the page. The differences: graphics in Franco-Belgian comics So, there are “conventional” approaches to Franco-Belgian comics, as well as people who have completely upended these. And, of course, there is also a strong tradition of humorous comics, the best known of all being Asterix by Ren é Goscinny and Albert Uderzo. Then there is the great Jean Giraud with the Blueberry Western series and, under his pseudonym Moebius, more experimental stories like The Airtight Garage and The Incal. On the right, The Airtight Garage, revolutionary in its structure and narrative because it is almost completely devoid of a plot. On the left, a page from Tintin, squared and clean in classic Franco-Belgian style. But among the greatest is surely Belgian Herg é with Tintin, the forefather of so-called “ligne claire” (clear line), a clean and clear style, in which every element of the panel is treated in the same way, in other words, using only clear strong lines and no hatching. So many authors have shaped and influenced the world of Franco-Belgian comics over the years that it’s impossible to cite them all here. As a result, it takes about a year to produce a book, so greater care and attention is given to the product, which showcases the author’s personality”. In France, especially for realistic releases, but also for some humorous bande dessin é e, a very particular style is required, which is clean and tidy with stories that focus on adventure.Īccording Saverio Tenuta: “ In France, the connection between the author and the character is much more intimate, especially compared with the American or Italian market: the reader can’t separate the author from the character and rarely is the world created by one author offered by another. ![]() With the basics out of the way, it’s time to talk specifically about bande dessin é e (BD), which literally means “drawn strip”. Gutters: this are the white spaces between panels.Grids: these are the structures that organise the panels on a page.They are juxtaposed to create a comic strip. Panels: these are the single visual units of a comic, which contain drawing and dialogues.The premise is very simple: a comic is made up of a number of essential parts, no matter where it’s from, namely: The grammar of French comics and the basics of bande dessin é e The French edition of La L é gende des Nu é es É carlates. To get a better understanding of Franco-Belgian comics, we spoke to Saverio Tenuta, a comic artist who has worked extensively in France (with stints in the United States and Italy too): he’s the author of La L é gende des Nu é es É carlates (Legend of the Scarlet Blades in the UK) and Le Masque de Fudo (in the UK, The Mask of Fudo), published by Humanoids. The format is identical to the French version and uses a quality hard cover.įirst of all, you need to understand that underpinning the comic as a medium for expression are deep foundations and visual grammars that reflect the culture, history and society of a given country: these rules aren’t set in stone, but they do influence the approaches to storytelling, page layout and narrative time. How do you create a Franco-Belgian-style comic if, say, you’re putting together a portfolio to show publishers, or simply self-publishing your work? An old Italian edition of Blacksad, published in France by Dargaud. ![]() Our beginner’s guide to Franco-Belgian comics Today we’re going to explore the world of Franco-Belgian comics, which is one of the largest and most influential markets for comics in Europe. ![]() In the United States, for example, they’re called comics, in Japan they’re manga, in Italy fumetto, while in France and Belgium it’s bande dessin é e. Indeed, we live at a time when the variety in comic output has reached levels never seen before with myriad styles, genres and visions.īut comics aren’t the same everywhere in the world, as a side-by-side comparison of an issue Batman and Dylan Dog will show: the format, album size and page layout are all different, which influences the story and how it’s told. Many designers and aspiring comic artists use Pixartprinting to print their stories and create an eye-catching portfolio with different artistic styles and sensibilities. ![]()
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