Resemblance, the graphic novel
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Great grandfather's uniform: research at the Maritime Museum

03/04/2012

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Picture of marine, early
20th century postcard.
The author's great-grandfather was in the marines in the early 20th-century. During WWI, as a marine of a neutral power, he helped rescue sailors from a sinking German warship, which earned him a German cross of honor. The drawing of him telling this story to a Nazi functionary, dressed in his old uniform, is one of the most dramatic and poignant scenes in the book.

But what exactly did the uniform look like?
Visited the Maritime Museum in Amsterdam to look for examples. While paging through books, thought anew of our dilemna with many of the drawings: how exact a historical reproduction should they be? Sometimes we can't find conclusive sources, but in some cases, like here, we're more concerned with emotional effect than exact reproduction. 

It's tricky. On the one hand, we believe that the real riches are hiding in the 'documentary' reality. On the other, these are stories - memories - people in a family told about the past - and their emotions are a central part of what they're trying to communicate. An interior, or clothing, can convey those emotions.

In practice, we wind up simplifying and stylizing most of the 'historic' settings, even when we know the exact details. It creates a stronger atmosphere. And in a way, it's more like memory really works: plucked clean of detail, object by object, over time.

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What kind of cars were on the road?

10/02/2012

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We met with design journalist Chris Reinewald (http://www.chrisreinewald.nl/), an authority on automobile design and
history. This is one of the thousand questions we have to answer to give 'Resemblance' the necessary richness and authenticity.
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Chris Reinewald and Zhenya Pashkina
Just like with fashion and uniforms, there's a standard 'Hollywood' answer which says: to evoke THAT period, use THOSE cars. But that's a stereotype, we know from our documentary experience that reality is always richer and more surprising.
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He also helps us correct the memories of some of the older people who were interviewed. They tended to call any German car with a certain shape a 'Volkswagen', also during a period when the car wasn't being mass-manufactured yet. So they could not have seen Volkswagens. And the prototypes could not have held the number of people they indicated.
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With Chris' help, we find the most common, and most likely cars to use as prototypes. He also explains how headlights were taped, and many other details.
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Day of research in Gorinchem

10/10/2010

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Spent the day in Gorcum, first measuring up the space where an exhibition of our work on the graphic novel ‘Resemblance’ (working title) will be held, together with readings and a presentation by the author of the novel it’s based on. Then went to the archives to study images, maps and documents about Gorcum (Gorinchem) during wartime.
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Poster made by library about the book and exhibition about graphic version
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Studying the maps, was struck by the beauty of some of the hand-drawn compasses and other features. The typography resembles the letters on the Amsterdam bridges. No-one knows who designed those.
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Hand-drawn compass on old map of Gorinchem
Was this ‘Amsterdam’ school style of drawing such elements common practice? Could a draftsman ‘improvise’ an arrow in this style? Or were there a few well-known formulas? Beautiful, in any case.
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'Binnenlandse strijdkrachten' (Dutch resistance) on parade in Gorinchem
Managed to find interesting examples of Dutch resistance fighters, but also letters that give us an idea of the handwriting and style of correspondence in those days.
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    Zhenya Pashkina and James Boekbiner are writing this blog together.

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