Ach, echt?: Cartoons by Ingmar Decker

By Ingmar Decker

„Ach, echt?“ Diese Frage bewegt die Menschheit seit langer Zeit.

Die Cartoons in diesem Buch bewegen sich um diese Frage herum und zeigen sie in ihrem großen Facettenreichtum – mal gepaart mit Erstaunen, Neugier oder Freude, mal gepaart mit Desinteresse, Lustlosigkeit oder Ignoranz.

Dabei wird die Frage nicht immer beantwortet. Ja, oft wird sie nicht einmal gestellt! Und dennoch schwingt sie immer mit zwischen den Zeilen und Pinselstrichen dieser illustren Auswahl an Cartoons und comedian Strips aus den vergangenen Schaffensjahren des Zeichners.

Mit 114 Zeichnungen – davon sixteen in Farbe. Mit Seitenzahlen. Ohne sonstigen Schnickschnack.

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Extra info for Ach, echt?: Cartoons

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M LOOK... I LIKE TO WINK I'M A PRETTY COOL GUV... BUT mSMUME /« GUY THAT POESffT FREAK OUT IN A FLVIN6 CAR... GAM"? \ SERIOUSLY?! MO I'LL SHOW WU AN IDIOT. SAIL V / f L l ^ BE CLEARER, . M y FR/ENP ^ MISS STARCADE, OUR^ FRIEND HAS ENOUGH TO JXAl WITH WITHOUF TAUNTS. ryfAH, I... w WAIT ^HAT? r ... WITH A ^ LITTLE CHANGE JU SCENERYj, Section 2 Laying Out the Action! Flying cars! The future is here! You may have noticed that there is a concurrent narrative going through these chapters, one that’s meant to entertain, yes, but also to make a point: that staging and layout are just as important to the flow of the story as the characters within it, and that all these elements are crucial for a proper story to be told, no matter the visual medium.

Truth be told, there is a point to every single decision involving environment and layout in terms of story structure and design (whether it’s a conscious decision or a subconscious one is left to the artist). All perspective layout designs are meant to enhance the information showcased within each illustration to better serve a linear narrative. Whether you are viewing one illustration or one of many panels in a comic, each angle presented has bearing on the scene it establishes, and each scene builds up to a full story.

One that would perhaps imply the use of a third point outside of the horizon itself. Madness, you say? Read on! Three-Point Perspective Here’s where things get interesting. Everything we’ve discussed so far depends on the notion that we are, in fact, facing the horizon. Yet we have heads—with necks, even—and sometimes we don’t face forward to engage our world. ) at something, thus not necessarily having the horizon within our frame of view. Yet the horizon didn’t disappear because we aren’t necessarily looking at it directly, so every object still has a relation to it, while we also create a third vanishing point in the sky, representing the spot we are actually viewing.

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