Kukuli designed for a regular book,
Kukuli (Dove in Quechua) as a graphic novel with written text- This page is a test in how to do the calligraphy for a graphic novel, typed, italic, cursive?
C. Llerena Aguirre, Pen and Ink Illustration. Furor Over Animal Sacrifice, Village Voice. New York.
The drawing depicts New York City's policemen rescuing several animals from the apartment of Lola Fernandez in the Bronx. They were destined to be sacrificed in a Santeros ritual. In Cuba they believe that Orishas, gods,. in the sky will be appeased with the sacrifice. This is a Yoruba, African religion practice.
Psyduck as a graphic novel with written text. Not using Indesign set up typography text.
University of Miami. Faculty meeting underwater. 2500.
Llama Goddesses,
Las protectoras de las llamas, vicuñas, guanacos y alpacas.
I have been in IDSVA studying for 7 years!
The Transition
After 30 years I have been thinking that illustration is married to text and lives in that world: Illustration belongs in the printed page.inside a tablet, a newspaper, a magazine, or a book page. The Latin word "illuminati" means to bring light: To shed light on a subject . But this last few months I have had moments of enlightenment that my sketchbook drawings contain meaning and calligraphy and they also have a style. In my drawings from life I write what people are saying on the page and or what comes to my mind. My philosophical question now is, Why can't these daily sketches be the new format for a graphic novel? I researched several illustrators and fine artists who use text and image in an unusual way.
Bibliography
Huaman Poma de Ayala
Fernando Bryce
Edilberto Jimenez
Alan Cober
Raymond Pettibone
1615
The first pen and ink illustration made in Peru by Huaman Poma de Ayala with calligraphy designed as a European renaissance book. The drawings emulate woodcuts or engraving prints the artist saw in his adopted father Ayala library. He also copied the printed letterpress text typography look in books he saw. Huaman drew the copy with an italic-cut feather calligraphy feather quill. The chronicle was written in old Spanish and Quechua.
Felipe Guamán Poma de Ayala . Nueva crónica y buen gobierno (Crónicas de América) (Spanish Edition) 1987
Adorno, Rolena. Guaman Poma: Writing and Resistance in Colonial Peru. University of Texas Press, 2000
Fernando Bryce appropriates pages of real publications and redraws them with a brush and ink. The act of appropriation is a postmodern strategy, a blasphemy and confrontation to the meaning behind the content of the publication, in a dated page we can feel the history and the message, The art then is like a graphic novel of sorts because it has image and had drawn text that tell a story .
Fernando Bryce: Dibujando la historia moderna. Mali Lima,. Peru. 2012
Edilberto Jimenez made a book of 100 visual anthropological drawings in the style of Huaman Poma de Ayala with the topic of the Covid 19.
Edilberto Jimenez. Nuevo Corona Virus y Buen Gobierno. Instituto de Estudios Peruanos , 2021
“Cada dibujo tiene una historia que me impactó”, dijo Jiménez, quien dibujó 750 bocetos de los cuales escogió un centenar para su libro “Nuevo Coronavirus y buen gobierno”, cuyo título se asemeja a “Nueva crónica y buen gobierno” escrito en 1615 por Felipe Guamán Poma de Ayala donde en 400 dibujos y 1.200 páginas se relataban los sufrimientos de los indígenas a manos de los españoles.
Diario Libre.com , Peru
Revistas Cientificas
Testimonies and altarpieces: migrant boxes, narrative urgencies, the Andean space. A reading of Chungui. Violencia y trazos de memoria by Edilberto Jiménez
Abstract
Throughout time, altarpieces have suffered transformations which were recorded, in part, by the Arguedian ethnographic writing: thus, from mobile boxes related to religious motifs, travels, and cattle driving, altarpieces mutated into commercial and popular art objects, by incorporating the ritual and the daily life of the Andean communities during the modernization of the nation. Then, they turned into coffin boxes, and music boxes which portrayed the horror and the political violence in the recent Perú (Ulfe, 2011). In particular, I will focus on Chungui. Violencia y trazos de memoria (2005), by Edilberto Jiménez: there, this Peruvian altarpiece artist and anthropologist re-updates the canonical forms of the altarpiece and the ethnographic testimony by combining letter and image, voice and body to narrate the unspeakable in the armed conflict. The procedural and conceptual transformations, while reminiscent of the work of Guamán Poma, refer to an Andean space which is clearly symbolic. In this sense, I propose to think of this case as a residual, migrant and performative testimony.
http://revistascientificas.filo.uba.ar/index.php/zama/article/view/9616/8400
Alan Cober
er made sketches from life as a visual journalist. Today we could have called him a visual anthropology artist. His drawings remind me of a form of graphic novel before the graphic novel rubric appeared.
Alan E. Cober. The Sketchbook: A Retrospective of People, Places and Things Paperback. Neenah Paper Press. 1981
Raymond Pettibon is an artist that appropriates comics and zines from the 70's and makes his own story with the scene or comic cover. He used the same brush an ink or pen and ink as the comic masters, like jack Kirby from Marvel Comics.
ARE YOUR MOTIVES PURE?: RAYMOND PETTIBON, SURFERS, 1985-2014
Pettibon, Raymond; Foreword by Adam Lindemann, Designed & Edited by Joshua Shaddock, & Essay by Carlo McCormick. Venus over Manhattan Press. NY 2014
