mardi 29 juin 2010
mercredi 23 juin 2010
mardi 22 juin 2010
lundi 21 juin 2010
dimanche 20 juin 2010
lundi 14 juin 2010
jeudi 10 juin 2010
mercredi 9 juin 2010
lundi 7 juin 2010
a JOURNEY TO REMEMBER SOUTH AFRICA 2010 CAPETOWN
kristen sims the lady in the hood ^^!!
Andy mason aka gandalf aka the architect of all on love man !
A liquid lunch :-) a stop in the township near philippi .
PETROS NOOI the man with the red shirt PACK ALL HIS sculpture !dimanche 6 juin 2010
samedi 5 juin 2010
a JOURNEY TO REMEMBER SOUTH AFRICA 2010 CAPETOWN
Jesse and her crew she is really phenomenal i learn a lot from her work. its the last panel of the story, i like the scene of the little girl and the blob with the red shoes.
Yep bryce this ain't over !! ah ah ... i can hear your voice^^ oooh crap kalonji c'mon this stuff is finish nah ?
I remember the wind and the cold ...
and us chasin the spot of light just to feel a bit warm .
jeudi 3 juin 2010
A JOURNEY TO REMEMBER SOUTH AFRICA 2010 CAPETOWN
I WOULD LIKE TO THANKS deeply PRO HELVETIA AND THE CCIBA FOR THE INVITATION ! and also the support of DARKHORSECOMICS and many more ...
sincerely jp kalonji
The best part was the 8-page collaborative comic, though I was nervous about it at first. How could 30 people possibly work together to produce a coherent comic? They’d all start picturing their own versions, and wouldn’t let go of them easily....
The solution was to slow the writing process down, and make it impossible to predict the end result. Even if someone did leap ahead and write the whole comic by themselves, they’d have to go through it all again with the group, and while their story could be incorporated into the final outcome, it wouldn’t survive unchanged. They’d have to fit it into what the group was doing.
When it came to drawing, all the intense storyboard discussion meant that everyone knew what the point of the story was and what needed to be communicated. We sketched in the basics and started drawing anywhere on the giant pages, trying to get everything done to an equal level all over before filling in the details. It didn’t matter that you were good at faces, or feet, because someone else would be drawing over your drawing when we tightened everything up. You couldn’t protect your perfect little bit of drawing. Much the same as the scripting process, it had to be relevant to the story to survive.
We ended up with a comic that no one person would have been able to produce if left to their own devices. Someone, looking at our pages, said: “I’ve never seen this style of comic before.
And that’s because it didn’t exist until we made it. We developed our own style, and it came out of the story we told, and because we didn’t start with an end-result in mind.
What we made isn’t the best comic ever written, but it is a comic that shows off the nuts and bolts of comic-making. I’m really, really proud of what we did.
The venue : PHILIPI
chillin session.... no doubt.
The process
Graphic Novel symposium was unspeakably amazing and exciting and interesting and fun. We spent 3 days talking about nothing but comics.
The best part was the 8-page collaborative comic, though I was nervous about it at first. How could 30 people possibly work together to produce a coherent comic? They’d all start picturing their own versions, and wouldn’t let go of them easily....
The solution was to slow the writing process down, and make it impossible to predict the end result. Even if someone did leap ahead and write the whole comic by themselves, they’d have to go through it all again with the group, and while their story could be incorporated into the final outcome, it wouldn’t survive unchanged. They’d have to fit it into what the group was doing.
When it came to drawing, all the intense storyboard discussion meant that everyone knew what the point of the story was and what needed to be communicated. We sketched in the basics and started drawing anywhere on the giant pages, trying to get everything done to an equal level all over before filling in the details. It didn’t matter that you were good at faces, or feet, because someone else would be drawing over your drawing when we tightened everything up. You couldn’t protect your perfect little bit of drawing. Much the same as the scripting process, it had to be relevant to the story to survive.
We ended up with a comic that no one person would have been able to produce if left to their own devices. Someone, looking at our pages, said: “I’ve never seen this style of comic before.
And that’s because it didn’t exist until we made it. We developed our own style, and it came out of the story we told, and because we didn’t start with an end-result in mind.
What we made isn’t the best comic ever written, but it is a comic that shows off the nuts and bolts of comic-making. I’m really, really proud of what we did.
The venue : PHILIPI
chillin session.... no doubt.
The process 
Yes we did it !! happy crew.
thank you very much to jesse for let me take your words !!
peace to all
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