Utifrån serieberättarens perspektiv undersöker projektet berättandet i ritad bild och text genom praktiskt serieskapande.

Min forskningsmetod går ut på att intervjua serieberättare om deras arbetsprocess för att sedan själv pröva på serieberättarens metoder i mitt egna berättade. Jag försöker på så sätt synliggöra den praktiska kunskap som finns gömd i en arbetsmetod och undersöka hur olika arbetsmetoder möjliggör olika sorters berättanden, berättelser och läsarinteraktioner.

När berättande bild och berättande text möts i läsarens huvud uppstår information utöver den som finns i bilden och i texten, här finns tid, rum, rörelse, ljud och karaktärer med helgjutna inre liv. Eftersom denna extra information uppstår hos läsaren undersöker jag de färdiga serierna med hjälp av kognitiva teorier om embodiment och mentaliseringsförmåga för att försöka förstå vad som kan hända i mellanrummen mellan ruta och ruta, bild och text, serieläsare och serieskapare På så vis hoppas jag kunna både bredda och fördjupa förståelsen för hur serieberättare kan förhålla sig till och använda sig av läsarens medskapande i sitt arbete.

I min forskning har jag gjort serier med hjälp av Joanna Hellgrens, Hanna Gustavssons och Mats Jonssons arbetsmetoder.

This project investigates storytelling in drawn image and text from the perspective of the graphic novelist, and it does it through practice based research.

My research method is to interview other graphic storytellers about their working methods and processes when telling stories through comics, and then try to use these methods and processes when making my own stories. In this way I hope to make visible some of the knowledge hidden inside a working method and look at what kind of stories, storytelling and reader interaction a working method can enable.

When drawn image meets text in the head of a reader, information occurs, information that was not present in the image or the text alone. Here time, space, movement, sound and full inner lives of characters might suddenly occur. I look at the comics that I have made with the help of cognitive theories of embodiment and Theory Of Mind, to try to understand what happens in the invisible space between image and text; frame and frame; and reader and graphic storyteller. In this way I hope to both widen and deepen the knowledge of how graphic storytellers can relate and make use of the readers co-creation in their work.

This practice-based research project looks at graphic storytelling from a maker’s perspective. When drawn images and text, frame and frame meet in the head of the reader, new information occurs that does not exist on the paper. Time, space, movements, sound, inner lives, relations and more appears here. How does the graphic storyteller relate to this occurrence? How do they work with it?

To gain insight into the tacit knowledge that graphic storytellers hold, Emma Rendel conducted interviews about individual working methods and attempted to use those methods in the making of her own stories. Because the “extra” information that she was interested in exists in the head of the readers, she looked into theories of how our cognitive abilities interact with a narrative and used these to analyse the resulting comics.

Every graphic novelist has a different method of working and has different insights into, and attitudes towards their work. Yet we seldom speak of or discuss what we know and there isn’t much written on the subject.

Through adopting the graphic novelist Joanna Hellgren´s method of working, this project investigates how changing one’s way of working will change both the resulting story and the narrative process of graphic storytelling. As a graphic novelist myself, I want to find out what kind of knowledge I can attain through investigating someone else’s working process from the inside and what new light it will shed on my own working method.