This is an apparently simple question, but it is very difficult to give a definite and definitive answer.
Is this a genre of literature? of a new type of painting-tale? of a Drawing of Drawing and Graphic Arts?
Or is it an autonomous communication form?
ABOUT THE BOOK
Graduated on September 26, 2017 at the Catania Academy of Fine Arts.
In pursuing and finally completing my study path, I decided to undertake a careful analysis of what concerns the graphic novel publishing, taking into consideration both the historical, the authoritative and the technical aspects.
The analysis of which you are preparing to observe some extracts has sought to give a precise definition of what this editorial format represents in the global and Italian comics market in particular, analyzing its history and evolution, its format and its characteristics distribution, as well as publishing rules that handle this process.
The volume was entirely made of bicromia (black on white) and entirely hand-woven in black thread, to further enhance the color choice.
This choice was made both as a reminder to the Italian cartoon tradition, characterized by black and white, and for optimizing printing costs.
Photo of the final book
FRONT AND BACK COVER
mockup | INSIDE THE BOOK
Colophon
Illustration of Arturo Lauria. SBE
Editorial guide of the italian publisher Tunué.
To emphasize information outside the volume writing, it was decided to work for contrasts.
Volume pages are composed in Playfair Display (black text on a white background),
while in-depth sections are composed of Helvetica Neue (white text on a black background).
To emphasize information outside the volume writing, it was decided to work for contrasts.
Volume pages are composed in Playfair Display (black text on a white background),
while in-depth sections are composed of Helvetica Neue (white text on a black background).
Sean Gordon Murphy cover design process.
TYPOGRAPHY
ILLUSTRATIONS
First of all, I would like to thank my rapporteur, Gianni Latino, who has given me confidence in redrawing the texts that fill these pages,
the friends of the Tunué for the information I needed, especially the writer Andrea Recupero for the valuable advice and his patience in answering the questions without which this thesis has answered has not seen the light, I thank the comic strips who kindly granted me their precious time, giving me important tips that have come into these pages and, in my future production ( as well as allowing me to publish their work), in particular Grazia Padula, Tony Sandoval, Arturo Lauria, Marco and Giulio Rincione.
