An Introduction to Comic Book Art Level 2 (2024) which published earlier this month is a comic book anthology that features the work of five aspiring adult comic book creators in Malta. It is the result of an initiative by Graphic Novels Library Malta (GNLM) and Malta Libraries who brought the contributors together for a nine-week programme last year to develop their ideas in character design, storytelling/narrative, colour and inking and their knowledge of the history of comics.
The anthology was the brainchild of Maltese illustrator Peter Magro whose passion for storytelling was ignited at a young age when he discovered his first Beano comic. Times2 caught up with him to find out more about the anthology, comic-making and the comic scene in Malta.
The GNLM is keen to continue their work widening the Maltese comic scene and encourage aspiring comic book creators to publish their work, Peter begins.
“Our goals are simple: to provide a platform or springboard for aspiring young artists and writers to create original comic books,” he explains. “The objectives of the course were twofold – to provide a comprehensive, holistic approach to comic creation and to make the result accessible to everyone, through libraries across Malta and Gozo.”
“The history of comics spans from the beginning of visual reading to contemporary works. It is important to note that comics are not about superheroes but about human stories. In some cases they are dressed up in a superhero genre, but others are simply a slice of life and the experience of a human with a fascinating story,” Peter continues. “Every comic is an artistic journey, a work of literature and an expressive piece of narrative. There are many technical elements to consider from composition and figurative drawing to narrative flow. Making a well-thought-out comic book consists of imagination, planning, and willpower!”
“Character design is important as the comic book creator needs to forge a human connection with the reader and, ideally, the characters design will make the reader curious to know more about them and, perhaps, hint at a background story that hasn’t yet unfolded.”
“Inking comes in different shapes and sizes, usually influenced by a particular region, such as American, Euro continental or Asia (Manga). As Maltese, we tend to choose between these styles, from what I’ve personally seen, Maltese really enjoy Manga. However, as Manga is predominantly Japanese, it is important that we do not copy the style, but assimilate it, and adapt it into our own, perhaps a new Maltese style,” he smiles.
By studying colour theory, composition (balance of artwork) and perspective in landscape a comic creator develops the illusion of a better narration. Peter describes how a scene set in a bar in which two people are conversing. A common mistake, he says, would be a preoccupation with the text in “back and forth panels” in which their faces speak from one end to another. However, the scene itself is just as important if not more so. If, however, it would be better to use different angles, portraying the individuals in shadows until the speakers are revealed, and to include, for example, close up of glasses, mouths or eyes. The inclusion of something happening in the foreground, such as a waiter passing by would make the scene feel natural, and the choice of a red colour scheme could indicate that the conversation is a dangerous one in a dodgy bar. In contrast, cooler colours like blue give a sense of calmness or stability: blue often represents law/legitimacy and might, for example, indicate that one of the speakers could be a detective or policeman.
“It is the combination of all of these factors– character design, inking, colour – like a jigsaw puzzle that creates a bigger picture, or in this case, narrative!” Peter grins.
Peter also explains that there are considerable similarities between comic book writing and writing a script for a film, as both are segmented and decisions made on whether the narrative will play out just visually or whether it will also include dialogue. The honing of a story into comic panels is not dissimilar to the story-boarding process used in movie making.
“Usually comic art is seen as a ‘hobby’ in Malta,” he adds, or “seen as something amateurish. However, this is changing. Albeit a niche area, comic art is becoming more popular with younger people due to its communicative strengths and artistic fluidity partly thanks to events such as the Malta Comic Con which constantly grows from year to year.”
“Our generation also owes a debt to people like Prof Gorg Mallia, an author, cartoonist and Professor of Communications at the University of Malta who legitimised comics at an academic level in Malta and abroad,” he continues.
At a recent comic Com: Peter Magor, Gorg Mallia, Dean Fenech and Audrienne Degiorgio discuss the Maltese comic book scene and how it’s grown:
This anthology following a similar initiative the previous year which focused on adolescent creatives (An Introduction to Comic Book Art Level 1, 2023-2024), whereas adult participants on the 2024 course – Clifton Azzopardi, Julian Chirchop, Zoe Marsh, Mariona Micallef and Yelena Margie Micallef – were included this second anthology. See the Times2 review.
This project would not have been possible without the generous support and collaboration of Malta Libraries, who graciously hosted the lessons at the Central Public Library, Floriana and contributed to the publication of this book.
GNLM also works closely with Wicked Comics, the NGO organisers behind The Malta Comic Con, to encourage the growth in the comic scene in Malta
