{"id":370,"date":"2019-01-25T00:32:56","date_gmt":"2019-01-25T08:32:56","guid":{"rendered":"https:\/\/eportfolios.capilanou.ca\/elizabethlin\/?p=370"},"modified":"2019-01-25T00:34:49","modified_gmt":"2019-01-25T08:34:49","slug":"the-golden-age-part-1-herge-1907-1938","status":"publish","type":"post","link":"https:\/\/eportfolios.capilanou.ca\/elizabethlin\/2019\/01\/25\/the-golden-age-part-1-herge-1907-1938\/","title":{"rendered":"The Golden Age Part 1: Herg\u00e9 (1907-1938)"},"content":{"rendered":"\n

Herg\u00e9:<\/strong><\/p>\n\n\n\n

Herg\u00e9 (Georges Prosper Remi) was a Belgian cartoonist who was best known as the creator of the comic series, Adventures of Tintin<\/i>. One of the most influential comic creators in history, he single handily launched the Belgian comics industry with Adventures of Tintin<\/em>. He was a master at crafting suspenseful page-turners where humour was never far away and had the latest political, cultural, and scientific inventions of the time mirrored in his work.<\/p>\n\n\n\n

Through his comics, he developed his own graphic style, \u201cLigne Claire\u201d (Clear Line). This style had thin, bright, and clean lines and avoided the use of hatches, shadow effects, or excessive details. This gave his work the clarity of readability. Decades later, when he started adding colours, they were applied in his open outlined areas and were flat and plain. Herg\u00e9 insisted that his drawings\u2019 line quality formed the true structure of his work, which is why he used a light pastel palette to help his lines stand out and allow more complex images to be easily read.<\/p>\n\n\n\n\n\n\n\n

Originally, I chose Herg\u00e9 to research because I loved watching and reading Adventures of Tintin<\/em> when I was a child. However, after researching, I am even more amazed by his work. His strategic use of \u201cLigne Claire\u201d to allow his cartoons to be easily read is well done, especially as he was considering the medium (newspapers) his cartoons would be printed on. By using clear clean lines, he was able to overcome the issue of ink bleeding on newspaper paper and allow his story to reach all audiences. I am impressed by not only Herg\u00e9\u2019s craft as a storyteller, but also his skill as an illustrator. <\/p>\n\n\n\n

Artworks:<\/strong><\/p>\n\n\n\n

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Quick et Flupke<\/figcaption><\/figure><\/div>\n\n\n\n
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Le Soir Jeunesse (1941)<\/figcaption><\/figure><\/div>\n\n\n\n
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On a March\u00e9 sur la Lune (1954)<\/figcaption><\/figure><\/div>\n\n\n\n
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Sketches for Les Bijoux de la Castafiore (1963)<\/figcaption><\/figure><\/div>\n\n\n\n
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Les Dupondt et l\u2019espadon (1943)<\/figcaption><\/figure><\/div>\n\n\n\n

_<\/p>\n\n\n\n

References:<\/strong><\/p>\n\n\n\n