Tuesday, January 19, 2016

understanding comics

Understanding Comics FREE full text PDF



Understanding Comics the Invisible Art 
by Scott McCloud is an illustrated guide through the making, observing and understanding of visual forms.  

Hardcopy of the book may be purchased from the campus book store, or borrowed from the campus library.
There is a FREE version of the entire book in PDF form by linking onto the title. 
The PDF is FREE, however will take some time to download.  
Save it to your desktop. 

Class discussion will occur on Mondays.
It is expected that each student be prepared by reading the full chapter before hand and prepare yourself with at least 5 talking points and the answers to the following questions. 
Your participation in discussion is not only valued, but as well, important to your on going development as a visual thinking and communicator, and your class grade!
Copy your class notes and submit to me at the conclusion of each Monday's discussion.

questions
chapter 1
Setting the record straight p.2
i. What is a medium?
ii. What is McCloud’s dilemma regarding the interpretation of comics?
iii. According to the author, what are the differences between pictures and comics?
iv. Why is it difficult to interpret comics? Explain
v. What definition does McCloud suggest?
vi. Explain how time operates in comics according to McCloud.
vii. What are the ancient civilizations that he points to in setting the record straight that provide us with some of the earliest forms of visual comic structures?

chapter 2 
Vocabulary of comics p.28
Choose three areas you found interesting from this chapter. 
Prepare to discuss your talking points with the class.

chapter 3 
Blood in the Gutter p.60
i. Regarding comics what is meant by the 'gutter'?
ii. What is meant by the cell?
iii. What happens between them?
iv. Discuss the concept of closure in comics.
v. According to McCloud, what is meant by transition in comics. Choose one you find interesting, why?
vi. On page 84-85 there is a visual story being told. What is it about and what is the point behind it?


chapter 4 
Time Frames p.94
i. In terms of the concept of time, is each frame a single moment? Discuss
ii. In comics is time and space one and the same? Explain
iii. How does changing the exterior edge of panel's shape affect time?
iv. How is motion visualized in comics?
v. What happens with the addition of words to a cell / panel? Explain how it effects time. 

Bring in two extra talking points you wish to share with the class.

chapter 5 
Living in Line p. 118
i. How is visible and invisible phenomena made visual via the use of lines?
ii. How can emotions be described visually?
iii. How can backgrounds and environments assist with the comprehending of space?
iv. Word balloons and lettering often illustrate a variety of emotions - bring in two specific examples from our text.

chapter 6 
Show and Tell p.138
i. Explain how words and images combined in describing the world that McCloud attributes to historic story telling. 
ii. According to the author, children are expected to "combine words and pictures" as long as they do what?
iii. Name the seven types of picture/word combinations. Explain their differences.
iv. Of these 7, which one seems the most active to you? Why?

Bring in two extra talking points you wish to share with the class. 

chapter 7 
The Six Steps p.162
i. According to McCloud, does he consider comics art? Explain.
ii. What are The Six Steps? How do they differ?
iii. What is the creative process in the creation of the Six Steps?
iv. What step sets the shape for the artist/designer to decide if the work will be described in a 2D, 3D work, song, movie, comic, book?
v. What is the essential question at the core of the creative process as described by McCloud?

chapter 8 
A Word About Color  p.185
i. As color was added to newspaper media, what two things increased?
ii. What is communicated more clearly in black and white?
iii. What types of colors were superheroes printed in? Why?
iv. What are the benefits of the addition of color in images?

Bring in two extra talking points you wish to share with the class. 

chapter 9 
Putting It All Together p. 195
i. In this chapter we have the opportunity to reflect back through the information of the entire book. 
Which concept do you find the most interesting, and why? 
Do any still confuse you? Discuss.
ii. After the completion of this book, what major ideas have you learned about comics? 
Please list them.
iii. Describe the visual and conceptual processes that comics use to communicate ideas from one person to another. 

And finally,
iv. Following the read of McCloud's Understanding Comics, do you see comics differently now? Explain.
v. Using the attributes we now understand with the world of comics, what other visual examples can you think of that have similar ways of conveying ideas? 
Name them and explain. 


documents

a collection of readings for further infromation 





Launching the Imagination, Mary Stewart, 2003
DesignBasics, David A. Lauer, 1990
Design Dimensions, Cynthia Dantzic 
Ways of Seeing, John Berger
Understanding Comics,  Scott McCloud
Point to Line to PlaneWassily Kandinsky
Designing with Color, Chris Dorosz & JR Watson, 2010
Art and Visual Perception, Rudolph Arnheim
Art Fundamentals: Theory and Practice, Ocvirk and others
Principles of Two-Dimensional Design, Wucius Wong
Interaction of Color, Josef Albers
The Elements of Color, Johannes Itten
Foundations of Art and Design, Fichner-Rathus 

River of Fundament . Matthew Barney . 2014

Understanding Comics full text PDF


emojis ;0










INVESTIGATION #1+ #2



methods 

  • Create a 1" x 11" rectangle, broken into units of 1" x 1" (totaling 11 units)
  • Create a Value scale from Hard (H) to Soft (B + Ebony) Pencils, light to dark
  • Thus #6 will be middle grey
  • On subsequent pages float 2" x 2" cell blocks in the center of your sketchbooks, maximum 9 to a page. 3 x 3 cells
  • Float 9 cell blocks in the center of your page
concepts + vocabulary development
figure - ground relationships
- value of graphite pencils Hard (H's) vs. Soft (B's)
- abstraction - non objective - representation
- objective vs. subjective
- composition - frame - cell - contour edge
- diversity - portion - placement - scale - visual weight - linear movement - visual rhythm
- purpose + function - aesthetic > form + function 
- design solutions in regards to assigned functions of commercial products

UNLIKE SOCIAL MEDIA emojis, you will be making use of Non Objective lines in pencil, creating diversity and high contrast  that will subjectively describe the following adjectives:
  • SOFT 
  • HARD
  • EXSTATIC
  • TRAGIC
  • LONELY
  • OPPRESSIVE
  • CHILDLISH
  • BEAUTY
  • GROTESQUE                                                                                                                                                                                                        
YOU ARE THE DESIGNER!
Making use of non objective shapes, describe the same adjectives above
  • fill with your Sharpie black marker
  • consider the figure as white in some cells to activate a composition of interest
  • consider ground as black to activate a composition of interest
TOTAL 18 cells in your sketchbooks over two pages, 9 per page.
COPY one favorite page of LINE CELLS + one page of SHAPE CELLS for critique next class

Harold and His Purple Crayon video

PART B

In UNDERSTANDING COMICS Scott McCloud speaks about how comics are a sequential art form.  What this means is in order to understand the concept that is visually being communicated, the reader needs to put a number of comic cells together to become aware of the message. Thus, as few as two or more cells will convey a message which is understood over time. 

Creating meaningful differences with “sequential art.” McCloud writes, “Taken individually the pictures [above] are merely that—pictures. However when part of a sequence, even a sequence of only two, the art of the images is transformed into something more: the art of comics!”

methods
Your charge is to create a non-objective transformational visual sequence using three of the adjectives from the list above.
i.  Select your three adjectives
ii. Establish which one will begin the transformation, the middle of the transformation and the end of the transformation.
iii. Divide your sketchbook into 4 rows of three (total 12)
iv. Create thumb nails that visually describe the adverb with shapes and lines.
v. Consider figure to ground relationships, weight of line, weight of shape, speed, mass, rhythm, value, space, scale, how one runs into the next cell, etc. 
vi. The work will be completed on 14" x 17" Bristol using Sharpie marker. Image size will be 4" x 12" float in the center.
(Each cell = 4" square) 


student work > "transitions"




  

calendar


the DESIGN PROCESS > thinking > looking > doing > critique > re-evaluating > thinking > doing ...

week 
1.
TUE  JAN 19   classes begin
WED JAN 20 introduction 
FRI    JAN 22 Investigation #1 Design Process
Investigation #1 DUE

2.
MON JAN 25 Understanding Comics Chapter 1 Discussion 
                       Lecture: The Frame
investigation #1 DUE + Emoji pages - 2 pages
TUE  JAN 26    end of Add/Drop
WED JAN 27 Mark + Line + Shape + Void
                   non-objective / abstraction / representation / subjective response
FRI   JAN 29   line + shape transitions : emotional line

3.
MON FEB 01 Understanding Comics Chapter 2 Discussion 
                       Lecture: Gestalt theory + organization
                       Critique Transitions
WED FEB 03 Figure / Ground Relationships - unity - proportion scale
FRI    FEB 05   Illustrate best book titles

4. five deconstructive analysis due
MON  FEB 08 Understanding Comics Chapter 3 Discussion  
                        Lecture: Focal Point > dominance > value + contrast 
WED  FEB 10 Focal Point > dominance > value + contrast 
                       Critique Figure / Ground - book title illustrations 
FRI    FEB 12 isolation + placement
                   
5.  ten deconstructive analysis due
MON  FEB 15 Understanding Comics Chapter 4 Discussion 
                        Focal Point > dominance > value + contrast 
                        Art & Design OPEN HOUSE
WED  FEB 17 Critique Focal Point > dominance > value + contrast                     
FRI     FEB 19  Video: Wasteland by Vic Muniz
                        bring in your gouache and brushes next class
                        3 page response to the WASTELAND: 
                        i. What is the global impact of Vic Muniz?
                       ii. What are the current efforts of Muniz, other artists/designers and organizations that hope
                           affect change on a regional, national and/or global level? Due: 09.28.2015

6. fifteen deconstructive analysis due
MON FEB 22  Understanding Comics Chapter 5 Discussion 
                        Lecture: Color Mappin+ Light
                        color perception > intensity > Afterimage > successive contrast > simultaneous            
                        mixing > contrast > optical color > afterimage > optical movement 
                        complimentary color schema / color mixing > Bezold schema
                        optical movement > afterimage > Monochromatic / Analogous  
                        Color wheel development
WED FEB 24  Book Jacket design: Figure/Ground Reversal
FRI    FEB 26 Film: Andy Goldsworthy: Rivers and Tides, 2001 1/2

7. midterm
      twenty deconstructive analysis due
MON  FEB 29  Film: Andy Goldsworthy: Rivers and Tides, 2001  2/2
                        Introduction to Midterm project: Use of found, ephemera  materials only > 
                        structure your rules from what you now know, 12 photographic images   
                         
WED  MAR 02 Understanding Comics Chapter 5 Discussion 
                        Use of found, ephemera  materials only > 
                        structure your rules from what you now know, 12 photographic images 
                        Discuss student process thus far, bring in thumb/external drives  
                         
FRI  MAR 04   Video: Wasteland by Vic Muniz
                        3 page response to the WASTELAND: 
                        i. What is the global impact of Vic Muniz?
                       ii. What are the current efforts of Muniz, other artists/designers and organizations that hope
                           affect change on a regional, national and/or global level? Due: 03/14/16
                        Use of found, ephemera  materials only > 
                        structure your rules from what you now know, 12 photographic images   

Spring Break Monday MAR 07 through FRI MAR 11

8.  twenty-five deconstructive analysis due
MON MAR 14  Understanding Comics Chapter 6 Discussion 
                         CRIT: 12 photographic images influenced by Andy Goldsworthy
                    Due: Vic Muniz WASTELAND response papers due
WED MAR 16  Field Trip : EVERSON MUSEUM OF ART .Syracuse
FRI   MAR 18  Lecture: Deconstruction of a Master

9.   thirty deconstructive analysis due
MON  MAR 21  Understanding Comics Chapter 7 Discussion 
                          Deconstruction of a Master studio work
                                               
WED  MAR 23 Field trip : GOLDEN PAINT . New Berlin
FRI    MAR 25 Deconstruction of a Master
10.  thirty-five deconstructive analysis due
MON   MAR 28 Understanding Comics Chapter 9 Discussion 
                          Deconstruction of a Master > triptych - deconstruction - mixed media - presentation
                        
WED   MAR 30 Deconstruction of a Master
FRI APR 01 Last day to withdrawal from a class
                         Critique: Deconstruction of a Master
                         
11.  forty deconstructive analysis due
MON   APR 04
           Registration week begins
WED   APR 06 Time, Chance, Motion, Abstraction
FRI     APR 08 Depth Cues > Linear perspective + amplified depth

12.   forty-five deconstructive analysis due
MON    APR 11 Linear perspective + amplified depth
WED    APR 13 Critique: Linear perspective + amplified depth
FRI      APR 15 Lecture: Final Project assignment + idea generation

13.   fifty deconstructive analysis due
MON   APR 18 Linear perspective + amplified depth Multiple perspective + Isometric projection
WED  APR 20 One on One conferences with Student Directed final project ideas  > 1 page project proposal + 4 thumbnails concept sketches
FRI    APR 22 Linear perspective / Final project work
SAT   APR 23 College Fashion Show

14.  fifty-five deconstructive analysis  (optional) due
MON  APR 25 CRITIQUE: Linear Perspective / Space is Illusion, but so is Depth
WED  APR 27 Student directed Final project class work
FRI    APR 29  Student directed Final project class work

15.
MON   MAY 02 Last day of classes / Reading Day - no class 
TUESDAY MAY 03 through FRIDAY 06 = Final Exams


Depending on the nature of each assignment and the experience of the class, the calendar may be modified by the instructor. Students will be informed to any changes in advance of assignment due dates. 

 @ 12:20 - 2:20 pm FINAL EXAM > Final Project due for critique + copies of your Ernst Haeckel and your thumbnail concept sketches. Please have projects installed prior to the start of our final! 

FRI  MAY 06 Residence Halls close @ 7 PM

TUE MAY 10  Final Grades Due
SAT MAY 14   COMMENCEMENT