Student Guide :: Comix for Artists

Credit Points: 12
Teacher Guided Hours: 39
Learner Directed Hours: 78
Duration: Semester 1
Mode of Delivery:  Face to Face
Pre-requisites: There are no pre-requisites for this course.
Course Instructor: Shiralee Saul
Contact Details: shiralee.saul@rmit.edu.au

Resources

Class network dagrmit.ning.com
Links: Shiralee's Delicious links del.icio.us/shiralee
Project management powerpoint
Class 1: Overview of course and comix: powerpoint
Class 3: writing for comix: powerpoint part 1
Class 4: Prehistory of Comics powerpoint
Class 5: Early history of comics; birth of the UK industry
Class 6: Early history of comics Part 2: Supermen of America
Class 7: Developing Character
Class 8: Physical development
Class 9: Underground Comix

Teaching Schedule 

Week Class Content Location
#1 Introductions | Assessment and work load | Scoping the field | Communications Theory | concept development

URLS
http://dagrmit.ning.com/  to post your exercises
http://bubbl.us  mindmapping tool
Ray & Charles Eames 'A Communications Primer'
Famous artist pictionary
Scott McCloud TED talk
Communication Theory
Museum of Dust | Incognita comix on redbubble : on Flickr

HANDOUT
pp148-155 Will Eisner, 'Comic and Sequential Art', Poorman Press 1985

EXERCISE
Join DAGRMIT online network http://dagrmit.ning.com/.
This is where you will post your exercises so that you can compare yours with other peoples and discuss their development.

Bubblus project diagram -- brainstorm concept. Screen capture and upload to DAGRMIT.
7|3|12 (first 1/2)
Bldg2, lvl 1, Lab b (2nd i/2)

#2

2.30 Gallery Visit

The Satirical Eye: comedy and critique from Hogarth to Daumier
National Gallery Victoria International, Robert Raynor Gallery, Ground Level, Admission free Meet at the NGV International foyer (near the Gormley sculpture/water window)
http://www.ngv.vic.gov.au/Satiricaleye/

4.00 EXERCISE
Choose OR write a short story to adapt into a comic. This will be used in various exercises in the coming weeks but does NOT have to be used in your final project. However, the story may be original and CAN provide the basis of your major project.
*Hint* Look for strong plot, clear dialogue and brevity.

Provide Shiralee with a print-out or photocopy (with your name on it) of your chosen story.
Time provided during class for research and/or creation -- the exercise will be due by start of class #3

URLs
Porphyria's Lover: McCloud's first online comic; an adaptation of a poem by Robert Browning.

Writing Comic Books by Barry Lyga (script samples at the end)
Plot and Story Construction by Joe Edkin
Writing for Comics by Kurt Busiek
Writing Comic Books by Buddy Scalera (PODcast)
Comic Writing Fundemantals by Jennifer de Guzman
Comic Book Scripts by Dwayne Duffie Links
main types of stories and narratives
digital propp
The Hero's Journey elements

Plot breakdown: The Watchmen
V for Vendetta

HANDOUTS
Eisner 'Hamlet on the Rooftops'
King Lear: A Graphic Novel (PDF)
Nicki Greenberg To His Coy Mistress & Moby Dick (pdfs)

NGV and 7|3|12 
#3

Pre-History of cartoons: From animated cave art to criticising the King...

Paupers' Bibles

MAJOR PROJECT DEADLINE #1
Submit a written treatment of your project. Describe the major characters, the story and indicate what style you think you will use to realise the project. Provide shiralee with a print-out and post digital copy to dagrmit.ning.com
Time provided during class for editing,  proofreading and discussion -- due by start of class #4

PROJECT DEADLINE #1 URLs
Sample Treatment
What is a Synopsis? An Outline? A Treatment?
20 Questions for Characters
Character Exploration Initial Writing Exercise
TV Tropes: This wiki is a catalog of the tricks of the trade for writing fiction.

Bldg2, lvl 1, Lab b
#4

Early History of Western comics: Industrialisation and commercialisation in the UK

URLS
Gertie the Dinosaur (Winsor McCay, 1914) http://www.youtube.com/watch?v=UY40DHs9vc
1911 - Little Nemo http://www.youtube.com/watch?v=kcSp2ej2S00
George Herriman -- Krazy http://www.youtube.com/watch?v=jcmfe0F6vVA&feature=related

EXERCISE: Class presentation (aprox. 5 minutes)
Prepare a brief bio of one C20th or C21st cartoonist/graphic novelist/series to present in class. Scan or source and show at least one example of their work. Be prepared to discuss how the cartoonist (or whatever) fits into a culture of comics, what makes their work unique and what you respond to in it.

Also post to dagrmit.ning.com. Include links to any online resources that you used in preparing the material. This must be posted by the start of class #5

Bldg2, lvl 1, Lab b
#5

The Semiotics of speech balloons

EXERCISE
Using your selected short story; create a short script by editing, breaking-up and adapting some of the dialogue (this may include internal monologue) to be presented in speech balloons. In whatever medium suits you, prepare 1 spread (2 A4 or equivelent pages) with frames and speech balloons to reflect your script. No other images are needed.

Upload both script and finished page to dagrmit.ning.com

Bldg2, lvl 1, Lab b
#6

Industrialisation of Comics: Superheros and propaganda

Marvel covers (and more) http://www.samcci.comics.org/
those dirty little comics BY ART SPIEGELMAN http://www.salon.com/aug97/spieg970819.html
A Short History of American Comics http://januarymagazine.com/features/comix.html

EXERCISE
Charting the transition types: panel to panel transitions. Analyse, using quantative methodology, the panel transtion types and frequency in a comic story.

List the comics analysed and the number of instanses of each type of panal transition.

Ref. Scott McCloud 'Understanding Comics' page 1. page 2, page 3

Bldg2, lvl 1, Lab b
#7

Character development.

Myers-Briggs test http://www.humanmetrics.com/cgi-win/JTypes2.asp
The Human Animal - The Language of the Body (1994, Part One) Desmond Morris

EXERCISE
Create a 10 Questions"-style profile of the main character in your project. include a picture of the character and lay-out in magazine style.
Post to dagrmit.ning.com

Character Development by Joe Edkin
It Builds Character: Character Development Techniques in Games By Rafael Chandler
100 Character Development Questions for Writers by Laura Cushing
The Fictional Character Development Template
ASIFA-Hollywood Animation Archive

Bldg2, lvl 1, Lab b
#8

Body Language; Posture, gesture and expression

EXERCISE
Source a cartoon figure for each of your group's emotion words.

Trace its outline and fill with a solid colour. You can either do this IRL and scan the results or use a graphics program such as Photoshop of Illustrator. Erase the original (If a scan).

Upload to ning

Scale up (or down) so all 3 silhouettes fit on 1 A4 landscape page captioned with their 'emotions'. Print out.

RESOURCES
Line of action and silhouettes http://johnkstuff.blogspot.com/2006/05/animation-school-lesson-5-line-of.html
Willard Mullin - Animated Line-of-Action http://hand-drawn-animation.blogspot.com/2009/01/willard-mullin-animated-line-of-action.html
Creating a graphic novel: Alison Bechdel http://drawn.ca/2009/03/11/creating-a-graphic-novel-alison-bechdel/
http://lambiek.net/artists/s/searle_ronald.htm http://www.ronaldsearle.co.uk/
Good design lies in the foundations http://aviary.com/bizblog/posts/good-design-lies-in-the-foundation
The Art of Silhouette http://news.deviantart.com/article/48417/
Desmond Morris 'The Human Animal - The Language of the Body' (vid) http://video.google.com/videoplay?docid=-3323021761394989726
Acting - Bashful Buzzard (1945) & Baby Bottleneck (1946) McKimson and Scribner http://johnkstuff.blogspot.com/2006/09/acting-bashful-buzzard-1945-baby.html
Crash course in drawing stick figures -> 3D figures http://www.art.net/~rebecca/LifeDrStick1.html

Bldg2, lvl 1, Lab b
#9

Underground Comix: Comics Reach Adolescence

URLS
Words and Pictures Comic Museum,http://www.wordsandpictures.org/index.cfm
If Not Superheroes, What? Part IX: Underground Comics http://www.fortunecity.com/tatooine/niven/142/profiles/pro45.html

EXERCISE
Produce a character sheet showing one of your project characters displaying a range of facial emotions (minimum 5) as well as full-face, profile amd either 3/4 or 1/4 view.

If your character does not have a face (or you would prefer): produce your own version of emotions (at least 8) displayed by a variety of main-stream comic characters.

Post on dagrmit.ning.com

Bldg2, lvl 1, Lab b
#10

Contemporary comix: from pulp to high literature...

URLs
Raw Comics http://www.readyourselfraw.com/index.htm
WEB COMIX
Testimony : a Story machine by Simon Norton http://www.myballoonhead.com/home.html
Meanwhile (interactive cartoon)
'Relax Baby' by Cassandra Tyler
'Scary Girl' by Nathan Juravicius (also see Scarey Girl game)
Scott McCloud's online comics http://www.scottmccloud.com/comics/comics.html (esp. http://www.scottmccloud.com/comics/icst/icst-3/icst-3.html)
Penny Arcade http://www.penny-arcade.com
jason turner 'blue double double' http://www.jasonturnerproject.com/blue/bluedd.htm
Platinum Grit
Nine Planets Without Intelligent Life : Bohemian Drive
A Softer World
PoCom Hypercomics

Project work

Bldg2, lvl 1, Lab b
#11
Publication and distribution
URLs
Zeros to heroes comic community and talent pool http://www.zeros2heroes.com
bitstrip -- online tools for creating your own cartoons  http://www.bitstrips.com/
'Strip tease' The Age http://www.theage.com.au/articles/2002/06/24/1023864544635.html

Project work/consultancies

Bldg2, lvl 1, Lab b
#12
Presentation of major project
7|3|12 &

COMIX RESOURCES
International

Scott McCloud's site
Words and Pictures Museum


Australian Comix & Artists

Comics Australia: Australian comics news and info.
Geeen Comix:  By Ben Hutchings, of YOU STINK AND I DON'T fame.
A. Woodward Comix
Patrick Alexander's Chicken Nation: PINK CHICKENS and RAYMONDO PERSON
Mr Tang: Mostly autobiographical.
Platinum Grit
Devil's In The Detail - The Diverse Art Musings Of Glenn Smith
Benjamin Cee
Naked Fella



Overview of Assessment

Assessment is based on progressive assessment briefs, and class exercises. In completing the assessment briefs, the student must demonstrate the knowledge acquired through the planned learning experience.

Assessment will progress through each development stage and students will receive written feedback on their major project and participation in group critiques (formal and informal).

Assessment Tasks 

Class exercises. Value:   50%
(50% of final mark -- each exercise is worth 5%)

Class exercises will follow from weekly class content and are to be submitted on the 'DAGrmit' network site (unless otherwise specified). http://dagrmit.ning.com/

Exercises receive full marks for appropriate completion -- they are not graded. Exercises are defined on the class outline and time is scheduled for work towards their completion in class time. In general they are aimed towards helping the student develop and complete their major project in a timely and professional manner.

Due: Ongoing

Major Project
(50% of final mark)

Deliverables
#1 Treatment due class #3
#2 Finished work presented in class #12 and handed up to Shiralee as a digital file with work formated for A5 book publishing end of class #12

Create a multi-page (minimum 4 pages/2 double spreads or 30 frames) cartoon or short graphic novel. You may use whatever medium and style you wish, but the final output MUST include the work presented within an A5 format as a multipage PDF. This is so it may be complied into a PoD publication of the entire class collection.

*Please note that inclusion in the collection will be at the discretion of the collection editor and/or the lecturer.

Assessment

Assessment will be based on the student's knowledge and understanding of the topics as per the course outline. Students should keep a copy of all work submitted for assessment. Loss or corruption of data (student's electronic based work) is not a valid reason for late or non-submission of work. Assignments that do not conform to the required format will be returned to the student for resubmission. Assignments must be received by the due date otherwise the student will incur a grade penalty. Any resources used in the student's work must be cited properly. Submitting substantially similar work to meet requirements of any other subject is not permitted without the written permission of the lecturer.

Assessment Criteria

All assessment tasks will be provided in writing via briefs and verbal reinforcement. Criteria include:

•  Participation in individual and group activities

•  Originality of ideas

•  Ability to present ideas and respond to critical analysis

•  Research skills

•  Effective communication (verbal, visual and written)

•  Completing the assessment tasks on time

•  Presentation standards (including spellcheck, proofread).

Assignment submission

Assignments MUST be submitted electronically as per instructions in the assignment briefs.

Extensions will only be considered in the event of medical or personal circumstances supported by appropriate documentation.

Late or non submissions

If the assignment is not submitted on the due date, the assignment is marked as failed. Please note that a failed assignment may result in a failure of the course. Extensions will only be considered in the event of medical or personal circumstances supported by appropriate documentation.

Plagiarism & collusion

Plagiarism and collusion will not be tolerated. Students cannot present work that is copied in whole or in part from another source OR is the result of unauthorised collaboration with another person(s). Where there are reasonable grounds to believe that cheating has occurred, the work will be given a fail grade the student will be required to resubmit a different assignment.

Communication

Email will be used outside of class hours for all communication regarding the course. Students need to check their emails at least once every day. Appointments with the teacher needs to be organised via email.

Assignment grading

NN:

0 - 49%

The work does not meet all the criteria of the brief. The work is not of an acceptable standard.

PA:

50 - 59%

The work fulfils all criteria of the brief. The work is of an acceptable standard.

CR:

60 - 69%

In addition to satisfying the criteria for a pass, the work demonstrates a broader understanding of the subject. The work is of a good standard.

DI:

70 - 79%

In addition to satisfying the criteria for a credit, the work demonstrates a capacity to engage meaningfully with the subject. The work is of a high standard.

HD:

80 - 100%

In addition to satisfying the criteria for a distinction, the work demonstrates an ability to meet professional standards. The work is of an excellent standard.

 

***Please note: The course guide is subject to change