Video Transcript for “BAM! It’S a Picture Book; the Art of Graphic Novels”

Total Page：16

File Type：pdf, Size：1020Kb

Video Transcript for “BAM! It’s a Picture Book; the Art of Graphic Novels” Hello and welcome to the Ellen Noel Art Museum. I’m Annie Stanley, the Educator here at the museum. Each fall is a special time as we prepare for Fine Arts Connection tours for all third grade ECISD students. Since we have some unique circumstances this year, we are adapting our programming to accommodate all our interested audiences. A normal in -person FAC visit would take about 90 minutes, allowing you to visit exhibits and have a hands-on art experience in the classroom. This year, we are offering taped tours of each gallery along with pre or post visit activities that can be accessed from the museum’s website at noelartmuseum.org/Museum from Home/Fine Arts Connection. We will also have a limited number of art kits available at our front desk for children who are able to visit in person with their grown up. This gallery is host to “BAM! It’s a Picture Book; the Art of Graphic Novels” on loan from the NCCIL, the national center for children’s illustrated literature. It will be on view here at the Museum until Nov 3. Our hours are Tuesday-Sunday from 12-5 and Thurs nights until 8:00. Admission is always free. So, first of all, what is a graphic novel? Well, like it sounds, it’s a book with many illustrations. They are similar to comic books but have more text, or words than a normal comic book. The Nelda Lee gallery hosts the work of five different artists/authors. As you enter through the door and go to your left, you will first see the work of Jarrett J. Krosoczka. Jarrett is most known for his graphic novel character “Lunch Lady” which is being developed for a feature film. He also developed a fun drawing program on YouTube called “Draw Everyday with J.J.K”. Next, we see the work of Lincoln Pierce. One of Pierce’s well-known characters is Big Nate. The Big Nate comic strip appears daily in over 300 newspapers as well as in many novels and comic strip compilations. Pierce was influenced by Charles Schulz, the creator of the comic strip “Peanuts”. Mark Crilley, who grew up in Detroit Michigan has been drawing since he was a child. His best- known graphic novels are Brody’s Ghost and Miki Falls. Writing a graphic novel is similar to writing a traditional novel in that the author begins with an outline of what’s going to take place followed by writing the story or script. Matthew Holm grew up reading the comic books of his older siblings and later drew editorial cartoons for his college newspaper. His character, “Babymouse” was one of the first graphic novel series written specifically for children. He works with his sister, Jennifer, who does the writing while he does all of the illustrations. Raina Telgemeirer’s work, “Smile”, was a graphic novel based on her childhood in San Francisco. It became a #1 New York Times bestseller and won an Eisner Award for the Best Publication for Teens. Raina has a fun example of how artists can use little images or pictures, called emanata, to convey different messages into their cartoons or graphic novels. .

Copy Link

Recommended publications

The 2000 AD Script Book Free
FREE THE 2000 AD SCRIPT BOOK PDF Pat Mills,John Wagner,Peter Milligan,Al Ewing,Rob Williams,Dan Abnett,Emma Beeby,Gordon Rennie,Ian Edginton,Alan Grant | 192 pages | 03 Nov 2016 | Rebellion | 9781781084670 | English | Oxford, United Kingdom The AD Script Book : Pat Mills : Original scripts by leading comics writers accompanied by the final art, taken from the pages of the world famous AD comic. Featuring original script drafts and the final published artwork for comparison, this is a must have for fans of AD and is an essential purchase for anyone interested in writing comics. Pat Mills is the creator and first editor of AD. He wrote Third World War for Crisis! John Wagner The 2000 AD Script Book been scripting for AD for more years than he cares to remember. The 2000 AD Script Book Ewing is a British novelist and American comic book writer, currently responsible for much of Marvel Comics' Avengers titles. He came to prominence with the 1 UK comic AD and then wrote a sequence of novels for Abaddon, of which the El Sombra books are the most celebrated, before becomiing the regular writer for Doctor Who: The Eleventh Doctor and a leading Marvel writer. He lives in York, England. John Reppion has been writing for thirteen years. He is tired. So tired. Will work for beer. By clicking 'Sign me up' I acknowledge that I have read and agree to the privacy policy and terms of use. Must redeem within 90 days. See full terms and conditions and this month's choices. Tell us what you like and we'll recommend books you'll love.
[Show full text]
Research Scholar ISSN 2320 – 6101 an International Refereed E-Journal of Literary Explorations Impact Factor 0.793 (IIFS)
Research Scholar ISSN 2320 – 6101 www.researchscholar.co.in An International Refereed e-Journal of Literary Explorations Impact Factor 0.793 (IIFS) DOMESTIC VIOLENCE IN STEPHEN KING’S ROSE MADDER Nitasha Baloria Ph.D. Research Scholar Department of English University of Jammu Jammu- 180001 (J&K) Abstract I read it somewhere, “You’ve given him the benefit of the doubt long enough. Now it’s time to give yourself the benefit of the truth.” Marriages have not been a cup of tea for everyone. You are lucky enough if your marriage is a loving one but not everyone is as lucky. Sometimes the wrong marriages or our wrong partners force us to think that it wasn’t a cakewalk, especially when the matter is of DOMESTIC VIOLENCE. As painful as it is to admit that we are being abused, it is even more painful to come to the conclusion that the person we love is someone we cannot afford to be around. This research paper will focus on the theme of Domestic Violence in the novel of Stephen King’s ROSE MADDER. It focuses on the main protagonist Rosie’s life. How She escapes from her eccentric husband and then makes a path to overcome her fear for her husband, leaves him and finally live a happy Life marrying the right person. Keywords:- Domestic Violence, eccentric, wrong Marrieage. “All marriages are sacred, but not all are safe.” - Rob Jackson This paper entitled, “ Domestic Violence in Stephen King’s Rose Madder” aims to explore the life of a young woman named Rosie who is married and is being tortured by her husband by consistent beating.
[Show full text]
Give Your Letterer a Work-Ready Script!
Presents… The Paradigm I The Paradigm The Paradigm Auteurship in Comics It's been several decades since the late Brandon Tartikoff first identified comic books as the next big thing in dramatic narrative. He was right, of course, but unfortunately too ahead of the curve for three important reasons. One, the technical facility to recreate the fantastical nature of mainstream superhero comics on film or video--and let's not kid ourselves, that's the sort of comics he was talking about--simply didn't yet exist, and two, most of his fellow executives, his senior by ten to twenty five years on average, had little interest at best, and genuine contempt for the material at worst, and were unable to see its potential value. And three, of course, is the tragedy of a very young Tartikoff dropping dead--well before the world in which the comic book would be the driving force behind a billion dollar industry he knew it would come to be. Naturally, none of those billions trickle down to those of us who actually do comics. Rather, it's the descendants of those executives who didn't share Tartikoff's vision that reap the benefits. There are actually a number of people wielding power in Hollywood with an actual lifelong familiarity with comics--but there are far more men-- and a few women, but not many--who used to beat up guys like me in High School for reading comics, now making bank off the same shit they ridiculed. Who said irony was dead, right? And then there's that slew of all too good looking men and staggeringly beautiful women, who put on horn- rimmed glasses and similar paraphernalia so as to convey their "nerdishness" or "geekdom" in order to patronize a readily flattered and easily manipulated swarm of enthusiasts.
[Show full text]
Work/Construction Zones
Work/Construction Zones Page 1 of 2 A work zone is an area where roadwork takes place and may involve lane closures, detours and moving equipment. Highway work zones are set up according to the type of road and the work to be done on the road. The work zone can be long or short term and can exist at anytime of the year, but most commonly in the summer. Work zones on U.S. highways have become increasingly dangerous places for both workers and drivers. There are a large number of work zones in place across America, therefore, highway agencies are working on not only improving communication used in work zones, but to change the behavior of drivers so crashes can be prevented. According to the National Safety Council, over 100 road construction workers are killed in construction zones each year. Nearly half of these workers are killed as a result of being struck by motor vehicles. The number of construction zone injuries and fatalities are predicted to climb even higher. Increased funding for road construction during recent years has led to a significant increase in the number of highway construction projects around the country. Increased speed limits, impatient drivers, and widespread traffic congestion have led to an overall increase in work zone injuries and fatalities. The top 10 states with motorist fatalities in work zones in 2008 are as follows: 1. Texas—134 6. Pennsylvania—23 2. Florida—81 7. Louisiana—22 3. California—70 8. North Carolina—21 4. Georgia—36 9. Arkansas—19 5. Illinois—31 Source: FARS 10.
[Show full text]
Comic Book Crime Truth, Justice, and the American Way
Comic Book Crime Truth, Justice, and the American Way INSTRUCTOR’S GUIDE Superman, Batman, Daredevil, and Wonder Woman are iconic cultural figures that em- body values of order, fairness, justice, and retribution. Comic Book Crime digs deep into these and other celebrated characters, provid- ing a comprehensive understanding of crime and justice in contemporary American comic books. This is a world where justice is deliv- ered, where heroes save ordinary citizens from certain doom, where evil is easily identified and thwarted by powers far greater than mere mortals could possess. Nickie Phillips and Sta- ci Strobl explore these representations and show that comic books, as a historically im- portant American cultural medium, participate in both reflecting and shaping an American ideological identity that is often focused on ideas of the apocalypse, utopia, retribution, and nationalism. Through an analysis of approximately 200 comic books sold from 2002 to 2010, as well as several years of immersion in comic book fan culture, Phillips and Strobl reveal the kinds of themes and plots popular comics feature in a post-9/11 context. They discuss heroes’ cal- culations of “deathworthiness,” or who should be killed in meting out justice, and how these judgments have as much to do with the hero’s character as they do with the actions of the villains. This fascinating volume also analyzes how class, race, ethnicity, gender, and sexual orientation are used to construct difference for both the heroes and the villains in ways that are both conservative and progressive. Engag- ing, sharp, and insightful, Comic Book Crime is a fresh take on the very meaning of truth, justice, and the American way.
[Show full text]
Novel Non-Pharmacological Insomnia Treatment – a Pilot Study
Nature and Science of Sleep Dovepress open access to scientific and medical research Open Access Full Text Article ORIGINAL RESEARCH Novel non-pharmacological insomnia treatment – a pilot study This article was published in the following Dove Press journal: Nature and Science of Sleep Milena K Pavlova1 Objective: The objective of this prospective pilot study was to examine the effects of a Véronique Latreille1 novel non-pharmacological device (BioBoosti) on insomnia symptoms in adults. Nirajan Puri1 Methods: Subjects with chronic insomnia were instructed to hold the device in each hand Jami Johnsen1 for 8 mins for 6 cycles on a nightly basis for 2 weeks. Outcomes tested included standardized Salma Batool-Anwar2 subjective sleep measures assessing sleep quality, insomnia symptoms, and daytime sleepi- ness. Sleep was objectively quantified using electroencephalogram (EEG) before and after 2 Sogol Javaheri2 weeks of treatment with BioBoosti, and wrist actigraphy throughout the study. Paul G Mathew1 Results: Twenty adults (mean age: 45.6±17.1 y/o; range 18–74 y/o) were enrolled in the 1Department of Neurology, Harvard study. No significant side effects were noted by any of the subjects. After 2 weeks of Medical School, Brigham and Women’s BioBoosti use, subjects reported improved sleep quality (Pittsburgh Sleep Quality Index: Hospital, Boston, MA, USA; 2Department of Medicine, Harvard Medical School, 12.6±3.3 versus 8.5±3.7, p=0.001) and reduced insomnia symptoms (Insomnia Severity Brigham and Women’s Hospital, Boston, Index: 18.2±5.2 versus 12.8±7.0, p<0.001). Sleepiness, as assessed by a visual analog For personal use only.
[Show full text]
American Splendor by Robert Pulcini and Shari Springer Berman
American Splendor by Robert Pulcini and Shari Springer Berman The Official Shooting Script - For Educational Purposes Only FADE IN: INT. HARVEY’S BEDROOM - NIGHT A BEDROOM MIRROR. The room is dark. A perfectly square mirror hangs crooked on a wall. Suddenly, out of the darkness, the reflection of a man’s face comes into focus. He stares straight ahead, perhaps studying his own unrecognizable reflection. It’s quite clear this is a portrait of sickness; the man’s pallor is gray, his eyes are confused. There is something most definitely wrong. Tentatively, the figure steps away from the mirror, leaving the frame empty and dark. ANGLE ON BED Like a ghost, the naked man (Harvey) stands over his bed staring down at his sleeping wife (Joyce). In the eerie light, he’s almost translucent. HARVEY (faintly) Joyce ... Joyce? Joyce springs up, alarmed. JOYCE What’s wrong, Harvey? What are you doing up? Harvey just stands there for a moment saying nothing. JOYCE (cont’d) What is it? HARVEY (delirious, out of breath) Tell me the truth. Am I some guy who writes about himself in a comic book? Or am I just --am I just a character in that book? Joyce rubs her eyes. JOYCE Harvey ... 2. HARVEY If I die, will ‘dat character keep goin’? Or will he just fade away ... Joyce just stares at him, unsure how to answer. Suddenly Harvey collapses. Joyce leaps from the bed, nervous, hysterical. She gets down on the floor and shakes him. JOYCE Omigod, Harvey! Harvey, wake up! CLOSE ON HARVEY’S FACE His eyes remain closed, his expression far, far away.
[Show full text]
List of Terms for Comics Studies
LIST OF TERMS FOR COMICS STUDIES Andrei Molotiu I put together the following list of terms, for the use of my students at Indiana University, Bloomington and at the University of Louisville, over the more than a decade that I have been teaching courses on comics. An earlier, shorter version of it was published in 2006 on the website of the National Association of Comic Art Educators (nacae.org; no longer extant) as part of the syllabus for my course at IU, Art History H 150, “The History of Comic-Book Art.” The list is not intended to be exhaustive: I compiled it primarily to be used in connection to my courses, and its emphases (and possible exclusions) reflect my own pedagogical interests. There is a simple explanation for the bold lettering on some of the terms: it indicated to my students the notions for which they were responsible on their exams. The list was put together mostly from notions in common use in the comics industry, terms in Scott McCloud’s Understanding Comics (which I used as a textbook), terms adapted from film and literary studies, and new terms I have introduced myself for notions that seemed particularly important in my teaching. In a couple of further instances, the sources of terms are credited in the body of the entry. To the best of my knowledge, the formulations of all definitions, as written, are my own. For this publication, I have also incorporated into some of the definitions more detailed discussions based on my lecture notes. I teach in an art history department, and have also used in discussing the art of comics many art-historical terms such as “chiaroscuro,” “baroque,” “idealization,” etc.
[Show full text]
Masters Thesis
Abstract The objective of this master’s thesis is to analyse the variations of Stephen King’s The Mist to uncover a method for evaluating an adaptation based on its reception and applying the conclusions of such an evaluation to reflect on other adaptations’ success. The study met this objective through an analysis of the constitutional changes to the narrative’s storytelling elements in the adaptation process. These changes were in turn compared to the other variations of The Mist to locate the abeyant elements, that affected the reception of the individual works. Consequently, the analysis found that The Mist novella and the film adaptation of The Mist were successful, while the television series was unsuccessful. In attempting to analyse The Mist, it was relevant to draw on adaptation studies. A discourse on fidelity has dominated the field of adaptation studies for a long time, in which the original work is superior to the adaptations. This study attempts to challenge the notion of fidelity, which is an approach that other influential theorists within the field of adaptation studies share. Linda Hutcheon has provided the theoretical framework of the analysis in her striking book, “A Theory of Adaptation”. The analysis found that changes to a narrative’s elements can have an impact on an adaptations’ reception, both in positive and negative ways. Furthermore, these changes were found to be generalisable to other adaptations, to locate which potential changes to storytelling elements have affected the reception of those adaptations. In the discussion, the findings of the analysis were used to discuss the reception of other examples of adaptations based on their inherent changes to the narrative, and how those changes coincided with the changes to the different variations of The Mist.
[Show full text]
Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created.
[Show full text]
A Module Compiled By
A Module Compiled by: Dr. Ekawati Marhaenny Dukut, M.Hum. FACULTY OF LANGUAGE AND ARTS SOEGIJAPRANATA CATHOLIC UNIVERSITY SEMARANG 2016 ii GRAPHIC NOVELS MODULE FOREWORD In the Faculty of Language and Arts of Soegijapranata Catholic University, students majoring in Linguistics or Literature are not only required to speak English actively but also to write actively. There are a number of writing courses to be taken, but all of them are geared so their thesis writing meets the minimum academic standard. This module, however, is created for students who want to write creatively. Not only will students have a mastery of writing good narratives, but students can develop them in accordance to the theory of writing a story that is developed into a novel with an interesting plot like that learned from the Introduction of Literature course. As the name suggests, this Graphic Novels module aims to provide students the opportunity of creating their own graphics, too. For that purpose, students are advised to exercise their drawing skills either in free hand or by use of various electronic media and drawing softwares, such as the Adobe Flash or Coreldraw. I would like to thank the writer of this module for her time and effort of creating such a creative writing course and module. Finally, I do hope that students do benefit from this module. Angelika Riyandari Dean of the Faculty of Language and Arts GRAPHIC NOVELS MODULE iii SYLLABUS Course description: This course especially prepares students to make graphic novels/ comic books, i.e. a book that more or less follows the Manga cartoon drawing of the Japanese people.
[Show full text]
A Description of Theme in Stephen King's Novel Carrie
A DESCRIPTION OF THEME IN STEPHEN KING’S NOVEL CARRIE A PAPER BY NAME : TAMARA REBECCA REG.NO : 142202013 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OFCULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2017 UNIVERSITAS SUMATERA UTARA Approved by Supervisor, Drs. Parlindungan Purba, M.Hum. NIP. 19630216 198903 1 003 Submitted to Faculty of Cultural Studies, University of North Sumatera In partial fulfillment of the requirements for Diploma-III in English Study Program Approved by Head of Diploma III English Study Program, Dra.SwesanaMardiaLubis.M.Hum. NIP. 19571002 198601 2 003 Approved by the Diploma-III English Study Program Faculty of Culture Studies, University of Sumatera Utara as a Paper for the Diploma-III Examination UNIVERSITAS SUMATERA UTARA Accepted by the board of examiners in partial fulfillment of the requirement for The Diploma-III Examination of the Diploma-III of English Study Program, Faculty of Cultural Studies, University of Sumatera Utara. The Examination is held on : Faculty of Culture Studies, University of Sumatera Utara Dean, Dr. Budi Agustono, M.S. NIP. 19600805198703 1 0001 Board of Examiners : Signed 1. Dra. SwesanaMardiaLubis, M.Hum( Head of ESP) ____________ 2. Drs. ParlindunganPurba, M.Hum( Supervisor ) ____________ 3. Drs. SiamirMarulafau, M.Hum ____________ UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am Tamara Rebecca declare that I am thesole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person’s work has been used without due acknowledgement in the main text of this paper.
[Show full text]