ARTS 095 Cartooning Workshop Instructor: Glynnis Fawkes afawkes@uvm.

edu Williams 305 Course Description Cartooning workshop is an intensive exploration of the many aspects of composing, drawing, inking, and publishing cartoons, comics, and graphic narrative. Experience in drawing is not necessary—this course emphasizes visual clarity and “writing with pictures” as a creative mean self-expression. We begin with single-panel gag-cartoons (New Yorker style) and build to three- or four-panel strips, single tabloid pages, to multipage story. In-class exercises and homework focus on the building blocks of comics: drawing, composition, layout, design, narrative structure, inking, and lettering skills, including basic instruction in perspective and figure drawing. We will explore a variety of media that can be used to create comics. For the final project students will create their own published mini-comic from thumbnail sketches through scanning, Photoshop editing (with an in-class tutorial), layout, and printing. Discussion and analysis of past and current comic artists and genres (including web comics) and on-going critiques of student work will provide insight and inspiration. This course loosely follows School of Visual Arts instructors Abel and Madden’s Drawing Words and Writing Pictures as well as the curriculum at the Center for Cartoon Studies in White River Junction, VT. Attendance 25% In-Class Exercises and Homework 50% Comic Book Report: 5% Final Project mini-comic: 20% Attendance required at every class meeting. Missing three classes will result in lowered letter grade. Homework will be due for critique at the start of each class. Late work will loose points for each day late. Headphones are not allowed in class. Cell phones must be off. Grading Materials UVM bookstore will stock most of these things, but also Black Horse Fine Art Supply (http://www.black-horse.com/Default.php) 277 Pine Street, 1B (just North of Curtis Lumber's parking lot) 860-4972 Boutilliers (194 College St, Burlington, 864-5475), Artists’ Mediums (300 Cornerstone Dr, Williston, 879-236), For drawing: 9” x 12” sketch pad with removable sheets office paper pack of white index cards 11” x 14” smooth surface plate Bristol Pencils—2B & HB or Mechanical pencils— 0.5 or 0.7 with lots of HB graphite Erasers: white and/or kneaded and a click eraser ‘pen’

For Inking: Speedball (Hunt) Sketching Pen Set with nibs and holder (not available at UVM bookstore) pigment drawing pens: Micron, Faber-Castel or Uniball in three sizes (for example 05, 02, 08) Sharpies are not acceptable. Micron brush pen Round watercolor brush size 0, 2 or 4 (sable or ‘sabelette’ are the best) Recommended: Windsor and Newton series 11 and 7 India ink: Permanent, waterproof Windsor & Newton, Dr Ph Martin’s, or Koh-I-Noor Graphix white, also called Deleter brand “White 2.” (may be ordered on line at Arkadot.com) or white acrylic paint or gouache (small tube) Small brush for white Drafting tools: 18” clear plastic grid-style ruler with an inking bevel 18 or 24” T-square Ames Lettering Guide Tracing vellum Drafting tape, X-acto knife, scissors Money for printing—budget up to $20 A portfolio to carry your Bristol pad Required Books Abel, Jessica and Madden, Matt, Drawing Words & Writing Pictures McCloud, Scott, Understanding Comics Speigleman, Art, Maus I & II Mamet, David, On Directing Film Recommended: Dooley, M. and Heller, S., eds., The Education of a Comics Artist Brunetti, Ivan, Cartooning Philosophy and Practice, Yale, 2011 Available on course reserve at the library

Schedule Day 1: Building Blocks/Iconic Representation In-class Exercise: Comics skills on the board In-class Exercise: Comics style continuum from realistic to iconic. In-class/Homework: * Design two characters that could be featured in your upcoming comic book. These characters should be more or less rendered "realistically." * Each character should be shown in side view, front view, and rear view. * The two characters should be drawn in proportion to one another. * Include four face shots: happy, angry, surprised, and bashful/shy. * Repeat above but redesign your characters in a highly iconic style. Reading: DWWP chapter 1 Understanding Comics, chapters 1 and 2. Wear or bring in shoes with laces Day 2, Monday: Drawing vs. Design.

In-class Exercise: Create a one-page comic, using no words, that explains to a reader how to tie a shoelace. Imagine giving their comic to an alien who speaks no earth language (but needs its laces tied!). Homework: DWWP page 11, Action within a drawing: Draw 5 objects in motion: a person running, a car speeding, a ball bouncing, a person staggering, a newspaper page blowing in the wind. Reading: DWWP chapter 2 100 cartoons at http://www.cartoonbank.com/page/home or in a New Yorker collection, Far Side, etc. Every Picture Tells a Story: Single-panel cartoons Critique: Drawing in Action Lecture/discussion: DWWP chapter 2 Activity: “Think Before you Ink” game Homework: DWWP page 11, Action within a panel: three scenarios. Reading: Understanding Comics, chapter 3 Day 3: More Gag Cartoons Critique: Action with the panel 3 scenarios. In-class Exercise: Gag Cartoons and caption competition Homework: draw at least 3 single-panel comics with 5 captions each Reading: Understanding Comics, chapter 4 DWWP chapter 3 The Strip Critique: gag comics In-class Exercise: Analyze a Day’s worth of newspaper comics and answer questionnaire. Using the answers to the questionnaire, create a comic strip in the same format about a first-quarter freshman. The strip should be stylistically identical to the one studied. Homework: Finish two newspaper comic strips, drawn at 200% of print size. Demo: Use of T-squares to lay out panels, Ames lettering guide, drawing for reduction, reduction wheel. Reading: Handout: “How to Read Nancy” available at http://www.laffpix.com/howtoreadnancy.pdf Reading: DWWP chapter 4 *Bring a copy of the Newspaper comics page to the next class! Day 4: Bridging the Gap Critique: two comic strips. In-Class Exercise: Comics Jumble on DWWP pages 46-47 Homework: DWWP page 47. Two-pages thumbnails of Jack and Jill using 7 types of transition. Story Telling Elements Critique: Jack and Jill thumbnails

In-Class Exercise: Show the following sequence of events using only pictures: You wake up and realize you have overslept and are now late for class. You rush out of your house towards school only to discover it’s Sunday. * Each image should be on its own 6" x 6" square drawn on 8.5" x 11" copier paper. * Finished artwork should be done with a fine point marker. * Sketch figures are fine as long as the reader can discern what is happening in any given panel. This exercise is not about drawing; it is about storytelling. * Minimum six panels. No maximum. Reading: DWWP chapter 5 Penciling Comic Book Reports: See DWWP Appendix D, page 249. *Present a comic or graphic novel to the class in terms of its compositional elements: analyze * drawing and inking style (what tools did the artist use? If it is in color, how was the color produced?) *lay-out (are the panels in a grid or are they varied manga-style? What types of transitions are most common?) *use of text in how the story is told. (Is the comic hand-lettered or typeset? Is the comic heavily dependent on the text or do the pictures carry the story? Do the images repeat/illustrate the text, or is there tension between the two?) *Include biographical information about the creator if possible, and talk about how the comic was made and where it was published. Keep plot summery to a minimum; start with a one-sentence summary. Emphasize how the style of the comic conveys its content. *Web comics are OK as long as you bring at least 5 printed-out pages or pages saved on laptop. There is no reliable Wi-Fi in Williams Hall. *There will be a sign-up sheet for time slots. Check with me and with your colleagues to be sure your choice is original. *Present for 10 minutes max. *A written one-page report is due on your day of presentation. Include at least one traced diagram and drawing. Day 5: Penciling Tortoise and Hare Critique: Woke up late, it’s Sunday In Class Exercise/Homework: Make a penciled two-page pantomime Tortoise and Hare story. You may add any twists and change the setting of the story. You may chose between a 3:4 or 2:3 size ratio for the finished pencils. This translates to 9 x 13.5” or 9 x 12” live area. Critique: Tortoise and Hare Roughs (thumbnails) In Class Activity: Penciling Tortoise and Hare The finished assignment is due next class. Homework: DWWP page 58, Pencil one panel three different ways. You may choose a panel from Jack and Jill OR from Tortoise and Hare. Penciling handout

Reading: Understanding Comics, chapter 6 DWWP chapter 6, Getting on the Same Page David Mamet, On Directing Film Day 6: Story Structure Critique: Tortoise and Hare pencils and one panel 3 ways Discussion: On Directing Film In-Class Exercise/Homework:
Write a story about how you got to school today. It should be grounded in reality (you must be the "star"), but may include some imaginary elements. You will then produce two versions of the SAME story. Version 1: In 9 panels (each on its own 6" x 6" square drawn on 8.5" x 11" copier paper) tell the story purely visually, with no text or sound effects. In this version it might help to imagine that a companion who travels with you (or near you) for the entire journey holds the "camera." Imagine this person is using a still camera, with limited ability to zoom or get too close to you; the camera work should be very limited. Version 2: In 9 panels (each on its own 6" x 6" square drawn on 8.5" x 11" copier paper) Taking EXACTLY THE SAME MOMENTS from version 1, tell the story this time with much more ambitious view points to ENHANCE the storytelling, to convey an overall idea, or create a certain ambience. But remember, you can't change the actual events, only the way we view this action. In addition, make use of the types of transition listed in Understanding Comics Chapter 3, pages 70-72. - Arrange the panels symmetrically in 3 rows of 3. - Produce an elementary written plot and script first, then move to thumbnails. - Especially with version 2, explore multiple camera positions at the thumbnail stage. - Complete version 1 before you attempt version 2. - Don't worry about too much detail at this stage - just enough to tell the story. Further Exercise: Once you've completed both versions, compare and contrast the effectiveness of the stories. Now, take version 2 and ADD 3 more moments. These could be between existing panels, or at the beginning or end, consecutive or not. Essentially you're "filling the gaps". Now you have a chance to tell the story injecting a different mood and/or atmosphere. Next combine both versions into one big story. Use all the panels from version 1 and version 2. See how the "simple" and more ambitious shots work surprisingly well next to each other. Maybe a mixture of shot types is a good style of storytelling? Finally, chose any number of panels to form your ideal version of the story, as few as you wish or all of them.

Story Structure handout Day 7: Inking Monday: Tortoise and Hare pencils due. Critique: Story structure in Getting to School comic In-class demo of various nibs, inks, and brushes. In-class Exercise/homework: Tracing a “Master” drawing in ink Reading: Understanding Comics chapter 5 DWWP chapter 8 Inking the Deal and chapter 13 Black Gold Wednesday: More Ink In-class drawing from a model in ink using nib pens and brush. Homework: Over spring break, keep a sketchbook of interior and exterior spaces, characters, and any details that may feature in your upcoming “Complex World” comic. Draw directly in ink with pens and brushes. Reading: Start Maus Day 8: Describing the Complex world Monday: Meet downtown.
STAGE ONE: THE SKETCHBOOK.

- Choose subjects that are of most interest to you, and which will be the easiest for you to study. - Make a minimum of 12 sketches. We have about 2 hours—that’s a sketch about every 10 minutes-pace yourself. - Gather as much information in the form of sketches as you can. - Include interior and exterior spaces (using perspective) and any details that interest you. - Draw people using the spaces (using gesture drawing). Chose TWO characters to act in your comic. - Once you have begun this process, you may get an idea for an overall story. - This might mean you need to gather specific information for that story.

Homework: Keep drawing downtown, according to the ideas on DWWP page 186 Reading: DWWP chapter 12 Constructing a World STAGE TWO: THE COMIC.
- Using the observed drawing you produced in your sketchbook, create a 4 page comic (16-panel-grids or a panel composition of your own). Take your two characters on an adventure in their environment. - As long as you base your project primarily on reference, you may introduce some elements from imagination. - Finished Pencils due Day 10, Monday March 28 - Finished Comic in Ink due Day 11, Monday April 4

*Comic Book Reports Homework: Read Maus and complete a study guide based on the reading. Reading: DWWP chapter 7, Lettering Day 9, Monday: Lettering In Class Exercise/Homework: DWWP page 95: a comic with no pictures. *Comic Book Reports Maus In-Class Activity: Discussion and Showing the CD ROM The Complete Maus. Reading: Understanding Comics chapter 7 *Comic Book Reports Day 10: Final Project: Non-Fiction Comic Create a completed four to six-page comic that is lettered and inked. The comic should be a nonfiction comic about the student and his or her relationship with comics. Examples include: homage to a favorite character, homage to a specific style, essay/biography of a specific comics creator, comics journalism, your discovery of comics, how comics rock your world, etc. Both Understanding Comics and Maus are examples of nonfiction comics. Also Alison Bechdel’s Fun Home, Joe Sacco’s Palastine, Jason Lutes and Nick Bertozzi’s, Houdini, and many more. Objectives: Students take what they learned throughout the semester and use it to say something personal about their relationship with the medium of comics. Penciled Complex World due. *Comic Book Reports Day 11: Critique: Inked Complex World Comics. Be prepared to make changes to your work after critique. Reading: DWWP chapter 10: Getting in to Character In Class Exercise: Characters in your Non-Fiction comic

*Comic Book Reports Individual critiques of Thumbnails for Non-Fiction Comic In Class/Homework: DWWP page 166: Revise your Non-Fiction Comic Thumbs and Start Penciling Reading: DWWP chapter 11.1: Setting the Stage *Comic Book Reports Day 12: Titles Critique: Non-fiction Comic pencils Reading: DWWP chapter 11.2 Titles *Comic Book Reports In Class Exercise: DWWP page 165, Titles Day 13: Work Day Critique: Titles In-Class/Homework: Covers for your Minicomic Reading: DWWP chapters 14 and 15, Comics in the Age of Mechanical Production *Comic Book Reports Making a Minicomic Due: Inked Non-fiction Comic. Final Project Minicomic: * Make a book out of your previous assignments * Include as many projects from class as possible to make up a book of at least 8 pages including cover--12 or 16 pages are preferable. Remember that page count must go in multiples of 4. * Size, shape, and binding of your minicomic is up to you. *Include your name, contact information and date. * Make a copy for everyone in the class—15 copies. Objectives: Ultimately a finished comic is a product and not a loose piece of Bristol board. Drawing something for reproduction requires a unique set of concerns. The satisfaction of making an edition of a comic is unparalleled. This assignment provides a great way to wrap up (and bind) the semester's activity. In-Class Demonstration: Examples of artist books, zines and mini-comics to show different formats and binding techniques. *Comic Book Reports Homework: Scan your work. Scanners are available for student use in Bailey Howe and in the Waterman computer labs. FedEx/Kinkos on Main St has a larger than 8.5 x 11 format scanner. Refer to DWWP chapter 14 page 212 for scanner settings. Reading: Understanding Comics chapters 8 and 9 Day 14: Meet in Waterman Computer Lab In-Class Demo: Scanning and Photoshop. Day 15: Assemble comic books.

Critique and collect class mini-comics, comics Jam and party Selected Books I Like Choose from this list for comic book reports or find your own. Able, Jessica, La Perdida, 2006 David B., Epileptic, 2005 Alison Bechdel, Are You My Mother, Fun Home: A Family Tragicomic, 2006, and Dykes to Watch out For Gabrielle Bell, Cecil and Jordan in New York, Lucky Best American Comics Series Lynda Barry, What It Is, 2008 Beaton, Kate, Never Learn Anything form History Kevin Cannon, Far Arden Roz Chast, The Party, After You Left Daniel Clowes, Wilson, Ice Haven, Ghost World, R. Crumb, Genesis, 2009 Vanessa Davis, Make Me a Woman, 2010 Alan Moore and Dave Gibbons, Watchmen, 1987 Marjane Satrapi, Persepolis 1-2, 2003, 2004 Will Eisner, Graphic Storytelling, 1996 and Contract With God Dylan Horrocks, Hicksville Kevin Huizenga, The Wild Kingdom and Curses, 2006 Hernandez, Gilbert, Chance in Hell, 2007. Hernandez, Jaime, Locas Tove Jansson, The Complete Moomin Windsor McCay, Little Nemo in Slumberland Rutu Modan, Exit Wounds, 2008. Sacco, Joe, Safe Area Gorazde: the War in Eastern Bosnia 1992-1995, Palastine Shanhower, Eric, Age of Bronze series Stein, Leslie, Eye of the Majestic Creature, 2011 Marjane Satrapi, Persepolis: the Story of Childhood, 2003 Posy Simmons, Tamara Drewe and Gemma Bovary Johan Sfar, The Rabbi’s Cat, Little Vampire, The Little Prince James Sturm, Market Day Yoshihiro Tatsumu, A Drifting Life Osamu Tezuka, Life of Buddha Craig Thompson, Habibi, 2011 and Blankets, 2003 Chris Ware, Jimmy Corrigan, The Smartest Kid on Earth Gene Yang, American Born Chinese, 2007.

Sign up to vote on this title
UsefulNot useful