Critical manga part 3: Record of making

In this post it’s going to  include: font decision, page layout and wording plan.

looked at different fonts in Photoshop.
The relevance of picking the correct font is to go with the aesthetics of the comic. After testing some of the fonts, compared its curliness of it to the words in her animations.
Below are sample fonts:
fonts curly.png
In conclusion:

-Font “symbol” is unusable because its visually to different and some of the letters look like different letters, eg “s” looks like a number 6 or the letter “o”.
-Font ” viner hard ITC” isn’t curly enough
-FONT “HARLOW SOLID ITALIC” not going to use because it’s almost unreadable.
Going to get back to the decision of fonts, look at a range of font generators after the bulk of the comic and words are decided.

Page layout plan

17/December/ 2015
Wording plan:

The story of the first female began In 1899 the second of June. A baby girl was born, named “Charlotte Reiniger” also known as “ Lotte Reiniger” The beginning of her achievement and name placed down in history, all started from being ,…born a girl.
The journey into her eventually creating and becoming known for what she has achieved in terms of the timeline for the animation history books starts from here.

As a little girl her taste of “Animation” and her inspiration all started from her deep fascination of Chinese art of silhouette puppetry, which developed into her building her own little set to show her “audience” what was made up of her family and friends. At her adolescence, she grew a passion and love for cinema and some of the special effects displayed in some of them for example the film titled “Georges Méliès”.
Her influences and what she was exposed to when she was growing from a seed to a large planted adult, is evident in her silhouetted animation.
She began her career working under someone else, and that someone else was named” Wegener” with her title cards appeared in his films, in which some of her silhouette work appeared in as well.

1918: Reiniger created and animated wooden rats for “Der Rattenfänger von Hameln” which translate to” The Pied Piper of Hamelin” for wagners film. The work she did in this film yielded enough success for her to be able to be admit into the “Institut für Kulturforschung” what translate to the “Institute for Cultural Research” what was an experimental animation and short film studio.

Her journey onwards to 1919, her first directed animated short film was titled “Das Ornament des verliebten Herzens” that translates to “The Ornament of the Enamoured Heart” The general public took a liking to it.
From then on she went on to create six shot animations while her husband photographed them all in a span of a few years. Some of her works was scattered about in advertising companies and in many feature films as part of the special effects, as such as her creating falcon silhouette for the in part one of “Fritz Lang’s Die Nibelungen”

1923 Louis Hagen, who beforehand brought a considerable amount of raw film stock’s as a form of investment against the inflation’s of the time. For his next investment, He approached Charlotte Reiniger to do a feature length animation of the topic of her choosing.

1926 came around, she became the very first female director of a feature animation film named “The Adventures of Prince Achmed”. A milestone in history, a time where the “animation world” in fact, in a world that was mostly had jobs dominated by males.

Surprisingly and almost unspoken, she beat Walt Disney and Ub Iwerksby almost a decade, with her creation of the very first documented multi-plane camera; she used her creation to display some of the efforts shown in in her “Prince Achmed”, what is animated in slight tinted colour. At this stage, she was at the peak of her career, meaning after then it pretty much deteriorated down woulds from there.

In 1928 she created her second feature film, titled “Doktor Dolittle und seine Tiere “ which translates to “Doctor Dolittle and his Animals, what was based on hugh loftings books what was one of the first children books.

A year on in 1929, she co-directed her very first live action movie in which she had 20 minutes of her shadow puppetry. The film was delayed until 1930 for the film to be dubbed by a rotation of voice actors because of the arrival of sound to Germany. All her efforts was wasted, the film yield poor results.

Bitter disappointment turned to failure in her third attempted animation feature. The feature inspired by Maurice Ravel’s opera what’s translated to “The Child and the Bewitched Things”. She wasn’t able to have all the clearance with the complications grew further about clearance on the music, when ravels died, so she ended up abandoning the project.

Between 1933–1944, Upon the rise of the Nazi party, Reiniger and her husband was both involved in left wing politics so they fled country to country; no country would grant them full visas. They stayed as long as their visas would permit per country, till it was time to move again. Hop a ti hop to the new lands. Through all the chaos, war, stress and traveling, they somehow managed to squeeze in to creating 12 films.
The translated 12 titles included :Carmen ,The Stolen Heart, The Little Chimney Sweep, Galathea: The Living Marblestatue, Kalif Storch, Papageno, Silhouettes (animation scenes, Puss in Boots, The Tocher Film Ballet, The HPO – Heavenly Post Office, Girl of the Golden West, The Goose That Lays the Golden Eggs”.

planned out the words so know how much space is needed to be left for it as well as what to draw in each panel. Managed to get the words to exactly 800 words, which would fulfill part of the brief concerning 800 words.

In conclusion: I need to re-plan out the placement of the panels, images and text, what key moments to draw and what to leave out due to the 4 page restriction.and plan what text goes on what page before drawing.

Realized a fatal error during my word plan, forgot to include the title as part of the word count, therefore need to cut out two words somewhere from the text section of the comic.


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