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In response to our readings and to get you to engage with the core questions of the course How do comics work? These projects involve both image and text, though you do not need to be an artist to do them. Trust me. I am not an artist either. For each assignment, I have adapted well, OK, coopted the work of two people who both draw and teach comics: Ivan Brunetti and Nick Sousanis.
Each one is a kind of thought experiment. You'll need a few basic materials on hand, though you can of course get more depending on your interest. As Ivan Brunetti says, the basic tools are paper, pencil, and life.
But, to offer something a little more specific borrowing from Sousanis here , here are some items I strongly recommend:. Do Exercise 1. Please note: you are welcome to do indeed, encouraged to do drawings for both, but you need only turn in one set of drawings or the other set.
If you do 1. Instead of drawing 25 famous cartoon characters from memory, draw 7 famous cartoon characters from memory. Part II of this assignment is a written analysis of what you've just done. This is not a class in how-to-draw cartoons. What I hope to achieve by this exercise and the others is greater understanding of how comics work, and you will convey what you understand via this two-page essay.
So, if you did 1. I'm not asking which one looked most like it , but rather which captured some essential quality of the object it strives to represent. Which elements of the drawing made it successful? Did any of these elements surprise you? By way of conclusion, you might contrast this successful doodle with the one you consider the biggest failure.
Why did it fail? You'll be turning in all doodles here, each one labelled neatly. However, please do not turn in a giant stack of paper. Instead, using a photocopier or scanner , create smaller versions so that you can put all 6 versions of each object on a single page -- you might create a 2 X 3 grid for this purpose.
If you did 1. Which particular elements of your drawing helped get the character's "essence" across so well?
As in 1. By way of conclusion, you might contrast this successful drawing with the least successful one: why didn't this other one work? What's missing? Does what you missed tell you anything about the way you "see" the character? If would shrink them via photocopier or scanner so that you can fit several per page, that would be much appreciated.
Guidelines for writing an essay are below. If you have particular questions, please ask, of course. You can reach me via email. Do Homework Assignment 1. If you want to include other photos of your process, you're welcome to do so, of course. For the written analysis, address the questions Brunetti poses in 2. Which are the two weakest links and why? If you have particular questions, don't be shy. Do Exercises 2. For your analysis, which juxtaposition of image and text was funniest?
What other responses in addition to laughter did these elicit? Choose another image-text combination and discuss why it elicited the emotional responses that it did. As in the first two, this will be accompanied by a written analysis of what you've just done. As before, what I hope to achieve by this exercise is greater understanding of how cartoons and comics work, and you will convey what you understand via this two-page essay.
If you have particular questions, do ask, won't you? I borrow this assignment from Nick Sousanis, who describes it like this :. Take a single sheet of paper and carve it up to represent the shape of your day in grid-like fashion. The day one chooses to focus on can be that exact day, a typical day, a particularly eventful day, or some imagined day. Importantly, it is essential to use the entire sheet of paper — for empty space has great significance in comics.
Then within this composition you have drawn, inhabit the spaces with gestural lines, collections of marks that run through it that represent your physical or emotional activity within and across those frames of time.
Do your best not to draw things! If you have questions about any of this, let me know. Send me an email. For Paper 2, select a single page from one of the graphic novels we have read for the course, and annotate it. What do you perceive at work on the page? How does the page work? Indeed, you might consider how the page contributes to the theme or themes you see at work locally on the page, and globally in the work as a whole.
The selection of the page itself represents an important part of this assignment. Choose a page which provides a rich source for you to interpret. If you are uncertain about whether a certain page would work, please ask me. Here are some possible items on which you might focus but this by no means an exhaustive list.
This is adapted from an earlier assignment of my own and from Nick Sousanis, who offers some examples of his students' annotations in this pdf. Guidelines for writing an essay. Each paragraph should begin with a claim.
Just as a thesis claim guides the paper as a whole, a paragraph's claim often referred to as a "topic sentence" guides a paragraph.
So, at or near the beginning of each paragraph, include a topic sentence that states your paragraph's central argument. The topic sentence serves as a bridge between thesis and paragraph by making an interpretive claim that indicates how the paragraph will support your thesis. Provide support. To persuade your readers to your position, you will need to provide some evidence in support of your claims.
Examples from the primary work should be used as evidence to prove your assertions. So, pay close attention to diction word choice , artistic style, use of space, representational style more iconic or more realistic , layout and design. Cite specific examples. If text, you should quote from it. Analysis and explanation of evidence. Be sure to analyze the example quotation, style, layout, etc.
Explain for your reader how your evidence supports your claims. Your last paragraph should synthesize, not summarize. You should resolve -- and not merely repeat -- your argument. Think of a conclusion this way: it both reminds your reader of where you've been and suggests new areas to explore. And, after you finish your draft Grammar and structure are important. To help yourself proofread and revise with both of these ideas in mind, please see the handout titled " Keys to Structure and Style.
When in doubt, get help. My office hours are listed on the syllabus, and by appointment. My email address is philnel ksu. Also, please make use of a grammar handbook. Two of the three handouts linked to this paper assignment are geared toward texts rather than comics, but they remind you to pay close attention to detail in " Imagery and Figurative Language " and to your own language in " Keys to Structure and Style ".
The " Thesis vs. Topic " does use graphic novels for its examples, though it was designed for a longer paper than you're writing here. Still, its general model does apply. With What? What Are the Projects? Guidelines for Writing an Essay Resources. All rights reserved. Read the Disclaimer. Last updated March 23,
But you can shave time off the learning process by working with the best materials. Skilled artist Christopher Hart shares many delightful tips in his book Cartoon Faces. Every cartoon character expresses emotion through their face. And this guide will cover everything you need to study and master facial expressions. Each chapter is filled with step-by-step examples to help you learn different facial expressions for a variety of characters. Cartooning is all about exaggeration and showing rather than telling.
From the editor of Yale's Anthology of Graphic Fiction, Cartoons, and True Stories , a smart and charming guide to the art of cartooning. The best cartooning is efficient visual storytelling—it is as much a matter of writing as it is of drawing. In this book, noted cartoonist and illustrator Ivan Brunetti presents fifteen distinct lessons on the art of cartooning, guiding his readers through wittily written passages on cartooning terminology, techniques, tools, and theory. Supplemented by Brunetti's own illustrations, prepared specially for this book, these lessons move the reader from spontaneous drawings to single-panel strips and complicated multipage stories. Through simple, creative exercises and assignments, Brunetti offers an unintimidating approach to a complex art form.
In the past several years, artist and Chicagoan Ivan Brunetti has taughtcartooning at Columbia College Chicago, illustrated nine New Yorker covers,edited two Anthologies of Graphic Fiction, and published books ranging fromthe cartoon collection Ho! Inother words, he has done a lot more with himself than he might lead you tobelieve in this interview. His latest work, the illustrated autobiography Aesthetics:A Memoir, will be available in May of this year. I moved from a small town in the rural central-eastern portion of Italy to thesoutheast corner of Chicago, known by the inhabitants as the East Side. If you.
He is the author, editor or translator of more than a dozen books in the field of comics studies including, most recently, Twelve-Cent Archie and The French Comics Theory Reader. His research explores the phenomenology of such popular media as film, comics, and animation. Ivan Brunetti is cartoonist, scholar and educator.
More than any other instructional. Keep it right next to your desk where you can find. It's the best book I've ever read on cartooning,.
F] Cartooning: Philosophy and Practice Full Pages Details Details Product: From the editor of Yale's Anthology of Graphic Fiction, Cartoons, and True Stories, a smart and charming guide to the art of cartooning The best cartooning is efficient visual storytelling—it is as much a matter of writing as it is of drawing. In this book, noted cartoonist and illustrator Ivan Brunetti presents fifteen distinct lessons on the art of cartooning, guiding his readers through wittily written passages on cartooning terminology, techniques, tools, and theory. Supplemented by Brunetti's own illustrations, prepared specially for this book, these lessons move the reader from spontaneous drawings to single-panel strips and complicated multipage stories. Through simple, creative exercises and assignments, Brunetti offers an unintimidating approach to a complex art form. He looks at the rhythms of storytelling, the challenges of character design, and the formal elements of comics while composing pages in his own iconic style and experimenting with a variety of tools, media, and approaches. By following the author's sophisticated and engaging perspective on the art of cartooning, aspiring cartoonists of all ages will hone their craft, create their personal style, and discover their own visual language.
Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphythe dance, on a tiny stage, of the living, speaking handand its roots reach into living soil, though its branches may be hung each year with new machines. Cartooning is not really drawing at all, but a complicated pictographic language intended to be read, not really seen. Chris Ware, The Whitney Prevaricator. The humble art of cartooning, at its essence, amounts to no less than a geometry of the human soul. Giambattista Vico, The New Science. Copyright by Ivan Brunetti.
In response to our readings and to get you to engage with the core questions of the course How do comics work? These projects involve both image and text, though you do not need to be an artist to do them. Trust me. I am not an artist either. For each assignment, I have adapted well, OK, coopted the work of two people who both draw and teach comics: Ivan Brunetti and Nick Sousanis. Each one is a kind of thought experiment. You'll need a few basic materials on hand, though you can of course get more depending on your interest.
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Профессор вертел кольцо в пальцах и изучал надпись.
Стратмор понял, что она смертельно напугана. Он спокойно подошел к двери, выглянул на площадку лестницы и всмотрелся в темноту. Хейла нигде не было. Тогда он вернулся в кабинет и прикрыл за собой дверь, затем заблокировал ее стулом, подошел к столу и достал что-то из выдвижного ящика. В тусклом свете мониторов Сьюзан увидела, что это, и побледнела.
В этот момент рядом резко притормозил мини-автобус.
Я преподаватель, а не тайный агент, черт возьми. И тут же он понял, почему все-таки Стратмор не послал в Севилью профессионала. Беккер встал и бесцельно побрел по калле Делисиас, раздумывая на ходу, что бы предпринять. Мощенный брусчаткой тротуар под ногами постепенно сливался в одну темную гладкую полосу. Быстро опускалась ночь.
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