allonlinenovel Chapter 235: Japan Comic Exhibition Begins
Chapter 235: Japan Comic Exhibition Begins
After the exhibition started, Hua Junwu took the four people to walk around the exhibition hall, and Jiang Weimin also saw many famous painters and cartoonists.
The Rose of Versailles, by Riyoko Ikeda. Serialized in 1979, it is set against the backdrop of the French Revolution, with gorgeous illustrations and an exciting plot.
"Galaxy Express 999", by Leiji Matsumoto. Serialized in 1978, science fiction, full of imagination.
Doraemon, by Fujiko F. Fujio. An early creation that was still widely influential in the late 70s, humorous and warm.
Black Jack, Osamu Tezuka. This work was created in the 70s and explores profound themes with high artistic value.
"Wolf with Cub", illustrated by Kojima Tsuyoshi and written by Koike Kazuo. Serialized in 1970, set in the Edo period, the style is restored and the cultural heritage is strong.
What Jiang Weimin likes most is the animation "Mobile Suit Gundam" which started airing in April 1979 and promoted the development of related comics.
This is the first work of Japanese mecha wars, which uses the earth and the universe as the stage and creates various settings of the Gundam series.
It laid the foundation for subsequent mecha anime and comics.
Its grand worldview, exciting mecha battles, and thoughts on human nature and war have attracted a large number of fans and have a far-reaching influence.
It is a pity that the time span of this Gundam work is too short.
After entering the 21st century, it is no longer as well-known as Naruto and One Piece.
Imagine if this Gundam work could be continuously updated and expanded like Ultraman.
If it continues to launch new chapters and stories, then in the new century, it will definitely have the strength to compete with Ultraman.
This also provided Jiang Weimin with valuable ideas and sounded a wake-up call.
He began to reflect on how to ensure that his works would maintain their long-lasting vitality and influence over time.
Gu Bingxin conducted in-depth observation and analysis of Japanese comics throughout the process, and patiently explained to Jiang Weimin as he watched.
Gu Bingxin is indeed a master in creating various painting styles, and he is adept at Japan's current painting styles and techniques.
He carefully pointed out the exquisite use of lines in Japanese comics, which benefited Jiang Weimin a lot.
At this time, Japanese cartoonists paid more attention to the smoothness and expressiveness of lines.
The thickness of the lines also varies more widely. Through different line thicknesses, the outline, texture, light and shadow of objects can be cleverly expressed.
This careful carving of lines makes the picture more vivid and lifelike, with a sense of layering.
Several other members of the delegation also focused their attention on the drawing style of Japanese manga.
They carefully observed each work, sometimes communicating in a low voice, sometimes falling into deep thought, trying to draw inspiration and experience from them.
Only Jiang Weimin was seriously learning the drawing techniques of Japanese comics from Gu Bingxin, while attentively watching the development of Japanese comics.
Jiang Weimin knows that only by constantly learning and drawing on the strengths of others can his work continue to improve and stand out in the highly competitive comics field.
At this time, Japanese comics were booming and the themes were extremely diverse.
In the field of science fiction, creators use their wild imagination to construct fantastic universes.
Comics about girls are as delicate and moving as flowers blooming in spring. They focus on the growth, emotions and dreams of girls, depicting the beauty and troubles of youth.
Comedy comics bring endless joy to readers with exaggerated techniques and humorous dialogues, and have become a spice in people's lives.
However, it is worth mentioning that at this time, although Japan's hot-blooded battle theme had not yet been fully developed,
But even so, Japanese comics as a whole have developed more diversified than the Chinese comic strips led by Jiang Weimin.
Although the Chinese comic book market was extremely hot at that time, most of the themes were still centered around historical and anti-Japanese war stories.
However, precisely because of Jiang Weimin's pioneering and leadership, many painters have begun to bravely experiment, trying to break through the limitations of traditional subject matter and explore new creative areas.
However, this process undoubtedly requires time for sedimentation and accumulation.
Looking at Japanese comics, Japanese cartoonists have shown great innovation in the way they divide frames.
They are no longer satisfied with the traditional grid pattern, but boldly begin to try more diverse grid methods, such as irregular grids, cross-page grids, etc.
These novel frame division methods greatly enhance the rhythm and expressiveness of the picture, making the story more vivid and interesting.
Through clever composition to guide the reader's eyes, so that readers can better understand the plot and content of the story.
These aspects are undoubtedly valuable experiences worthy of Jiang Weimin's reference.
Hua Junwu quietly watched Gu Bingxin enthusiastically lecturing Jiang Weimin.
Jiang Weimin listened attentively and took notes in his notebook.
Looking at this scene, Hua Junwu showed a knowing smile on his face.
His eyes were full of relief, as if he saw hope for the future of Chinese comics.
"Wei Min, what did you gain from this comic exhibition?"
After a long period of communication, the relationship between the few people became closer and they were no longer based on their positions.
Hua Junwu's tone was kind and gentle, like an elder caring about the growth of a younger generation.
"Uncle Hua, I have gained a lot from this trip!" Jiang Weimin then explained everything to Hua Junwu in detail, from painting techniques to the selection of subjects and the final structural arrangement.
Jiang Weimin's words are clear and logical, full of thoughts on the development of comic strips.
"It seems that our comic strips are still somewhat behind Japanese comics in terms of innovation and subject matter.
But luckily you are here. I have seen everything you have done at Qingdao Publishing House.
Whether it is training painters for major publishing houses, establishing schools, or encouraging painters to work hard to earn foreign exchange,
And you have done a great job in adapting storytelling to achieve diversified development!"
Hua Junwu's words were full of praise and affirmation for Jiang Weimin.
He knows very well that the development of Chinese comics requires young people like Jiang Weimin who are talented, responsible and innovative.
"Uncle Hua, I will continue to work hard."
"Very good. When you go back, write me a detailed report based on the current situation of Chinese comic strips and your observations of this comic exhibition!"
Hua Junwu's tone was serious and earnest.
"Okay, Uncle Hua!"
Jiang Weimin secretly made up his mind to write a profound and valuable report and contribute his wisdom and strength to the vigorous development of Chinese comic strips.