Belugachop, Figarizzle, and Sumafu will be at Toronto Comic Arts Festival this weekend. We will be located at *~ table 274 ~*, which is situated on the 2nd floor of the library, near the entrance to the exhibitor room. Come say hi and check out our goods :). The printed version of the festival guide may say a different table number, but we are officially at 274!
Stock list for TCAF 2013!
A collection of romantic tales set in that glorious time of youth when your heart can shatter as easily as your glasses.
Featuring the original work of seven Canadian artists, themed around our favourite fashion accessory! Follow us to a world fresh with magical girls, first loves, and self-discovery.
The charming volume of light-hearted and humourous stories unwoven in the tradition of Japanese shojo manga is certain to send a thrilling pitter-patter straight to your core.
- Size: 5” x 7.75”
- Cover: Full colour dust jacket with silk finish, variant (!) b/w cover underneath
- Interior: 112 pages, b/w
- Binding: perfect
All canadian cast of contributors:
How to get it:
- Pre-order online at the Love Love Hill store to have the book shipped to you! Shipping begins May 15th, 2013. Book costs $13 + shipping (if applicable)
- Grab a copy IN PERSON at a convention! We are debuting the book at TCAF and will also have copies of it at Anime North and Otakuthon!
A few methods I use to visualize imposition/page layouts when I plan my books and comics. (Note this is not about actually imposing pages for print; it’s more to help you plan your content.) I usually employ all three depending on where I’m at or what information I need to figure out.
left and right folio: left-hand page or right hand page
OFC, IFC, IBC, OBC: outside front cover, inside front cover, inside back cover, outside back cover.
Imposition is essentially the art of page layout. It’s about figuring out how pages of a book will be positioned on a sheet to get them to where they need to be when the entire book is finally printed and assembled. It can help you figure out where spreads are, where sections start, etc.
This can be very helpful for both plotting/pacing your work and print production. It allows you to see, for example, whether something will start on left hand or right hand page, or where a spread will fall – whether the spread is actually running across one sheet of paper, or if it’s being split up across two and there’s a chance for some misalignment. You can also have a sense of how long or short of a book you want (depending on your time/patience/budget etc.), and fill pages accordingly.
Read the full article on my website.
Maiji is killing it with her walkthrough for book imposition/page layouts.
Eiji Otsuka Workshop Recap: Cinematography in Manga (2)
This is part two of three, recapping the workshop with Eiji Otsuka, manga writer and Kobe Design University professor. Held at Otaku Lounge, Otsuka-sensei and his student Chiharu Nakashima (a professional mangaka in her own right) gave us a two-day crash course on manga storytelling.
Part One can be found here.
Where we left off: Otsuka-sensei had gone through a super-condensed lesson about cinematography devices in manga-storytelling. He then assigned us some homework…
DAY TWO: Homework Assignment Correction, Common Mistakes in Manga Layouting
Why do I talk so much!!
Eiji Otsuka Workshop Recap: Cinematography in Manga (1)
Last weekend, I was very lucky to be able to attend and participate in an inspiring two-day workshop led by manga writer and Kobe Design University professor Eiji Otsuka, of MPD Psycho and Kurosagi Corpse Delivery fame. Held at Otaku Lounge, Otsuka-sensei and his student Chiharu Nakashima (a professional mangaka in her own right) gave us a crash course on manga storytelling that entirely blew my mind.
I really felt like this is the type of thing Love Love Hill tends to be really interested in, so I wanted to write a bit of a recap of my experience and share some of the lesson here :D
I’ve broken it down into the two days and then one more entry about my own thoughts and what I synthesized most out of it. I am probably not going to delve too deeply into individual points in the actual lesson, because the presentation was so dense and to be honest I am not really sure how to do it without mass hand gesturing and visual aids, lol. I can only try my best to explain it in words here, I’m sorry. Maybe for another time.
DAY ONE: An Introduction to the Usage of Cinematographic Language in the Art of Manga