Jackie Roche is an extremely talented cartoonist who happens to do a lot of nonfiction, often historical, comics. I was lucky enough to have a short piece of hers in the last issue of the CP, the Small Worlds Issue. She recently completed work on a project with VICE News, and I was so taken with the work that I wanted to talk to her about her part in creating it. I recommend watching the whole thing.
I think the biggest sign of how far drawn journalism has come may be the fact that there's only one comment skeptical of it on this YouTube video. For a group so quick to rip anything and everything apart, I'd say that's a win. This interview has been slightly edited for clarity.
Josh Kramer for The Cartoon Picayune: Did VICE approach you or did you reach out to them about working together?
Jackie Roche: I was approached by Carrie Ching, producer of the "Correspondent Confidential" series for Vice. Carrie was referred to me by Erin Polgreen, cofounder of Symbolia Magazine, and the Symbolia door opened because my former SCAD classmate Emi Gennis included my thesis comic in the Unknown Origins & Untimely Ends anthology she edited for Hic & Hoc. [Emi also appears in the Hard Work issue of the CP.]
I think the complete origin story family tree above is worth mentioning because each project over the past year or so has come from a similar series of kind people, and for that I am so, so, extremely thankful.
Did you work from the audio? What was the process?
I worked directly with Carrie. She sent me the completed audio track and an illustration list with written descriptions of the requested shots and links to reference images. I also referenced the Al Jazeera America documentary, "Fault Lines: Haiti in a Time of Cholera," which is excellent.
The whole 11+ minutes are made up of your drawings. How many did you end up doing? And how long did each one take you? Run through the drawing process.
For the sake of animating parts of the video, there are two types of illustrations: full illustrations and layers. The layers are variations on a full illustration, like the coloring on a map representing the spread of disease. The video is made up of 44 illustrations and 13 layers.
The time per illustration varied, depending on how many figures are in the composition, etc. I submitted thumbnails and pencils for review before inking the illustrations with a nib and adding flat color digitally.
There was some back-and forth about the style, and we worked to find a balance between grit and clarity, and figure treatments that were not too realistic or too cartoon-y. I tried to approach illustrating in service to Walker's story and the suffering he witnessed delicately. Though the Haitians drawn in the story aren't direct likenesses of specific individuals, they represent individuals. Stiff, over-rendered art would not be compelling, and going bananas with splatters, craggy-looking figures and ominous heavy shadows everywhere would, in my opinion, undermine the tone and purpose of the narration.
How did you approach getting the visual details right? Did you have a lot of reference photos to work with?
I started with the descriptions in the illustration list to create the thumbnail sketches, and used reference materials after I had a basic composition. I used reference materials to inform the specifics in the drawings, like what the gate in front of the UN base looked like, for example, or the airport in Port-au-Prince.
I prefer to start with the thumbnails because I want to make constructive drawings rather than superficial contour drawings that rely too heavily on reference images. So for each illustration, I thought about where the camera should be for storytelling purposes. Then I drew a horizon line and quick, free-hand perspective grid. Once I had a grid, I started to add the elements requested in the illustration list. The perspective grid lets me visualize the elements in a reference photo and rotate in space to fit my composition.
Ideally, I would capture reference images myself, but that is not always possible. With a project like this where I was not able to sketch on location or take my own reference photos, constructive drawing serves two really important purposes. First, it makes storytelling the priority in each illustration. I am not at the mercy of a reference photo taken at an angle that doesn't serve the story. Second, it's less ethically murky because the drawings can be informed by, but not derivative of, the work of others.
Thanks Jackie! Don't forget to check out more of her work at her portfolio site.
Today our Subscriber Drive features the first page of Jackie Roche's story in the new issue. I love her style and her enthusiasm for history and folk stories. This story, about Edwin Booth and (spoilers!) Robert Todd Lincoln, is a great example. You can buy the new issue here, or start your subscription with it here, and recieve our new screen printed postcard.