Program Name: Cartooning

Artist: Mike Worley

Special Workshop Description Requirements: In this workshop, students cone), and shows how these shapes Chalkboard; chalk; a basketball or globe; drawing paper; No. 2 will explore the fundamentals of are present in the construction of ; black felt-tip pens drawing a comic character. familiar comic characters. Teaching Artist Mike Students draw along with Special Points of Worley, whose work as a Mike, creating original characters Interest: and Penciller have appeared in and learn how to construct various numerous comic books, shows parts of a cartoon character’s During the period from 1940- students how cartoon characters are anatomy (such as the head) by using 1945 some 400 super heroes developed and replicated. Students examples of objects already known were created, mostly based on will have the opportunity to see the to students. Mike also shows how the -model, though only a few survived. various stages through which a slight changes to a drawn line or cartoon is created, processed, and shape can change a character’s mood printed through viewing examples of and expression. This program is also available Mike’s work for Marvel and Archie as a residency. Comic Books. Mike demonstrates how

drawing is based on four basic shapes (cube, sphere, cylinder, and

Educational Objectives & Standards

Students will: Language Arts:  Knows different features that affect  Be introduced to cartooning as one a viewer’s perceptions of characters of the purely “American” art forms in visual media. information  Use cartooning as a creative outlet

and vehicle for their own Visual Arts:

storytelling outlets  Knows how different media, techniques, and processes are used to communicate ideas, experiences, and stories.

KANSAS CITY YOUNG AUDIENCES 3732 Main Street, K.C., MO 64111  816.531.4022 www.KCYA.org

Artist Bio: Mike Worley

On Christmas Day, 1979, Tryout Contest. Mike received a copy of How To Mike’s first professional gig Draw the Marvel Way. In this was as a Colorist for Eclipse Comics. book, he found his passion. Mike, From there, he built his career as a already holding a degree in Music, , coloring for Marvel returned to Northwestern Missouri Comics, penciling for Archie Comics, State University to obtain a degree in inking the style guide for King Art. Feature’s 2040, Marvel The early 1980’s found Mike Comics Presents, and Midnight Sons as a Colorist in DC Comic’s New Unlimited. Talent Program and as a runner-up Mike is currently helping to Penciller in the Marvel Comics develop new talent in the field of cartooning. List of Resources: Vocabulary

Books: How to Draw Comics the Anatomy: the structural makeup of Penciller: artist who sketches the Marvel Way an organism or object, and/or any of Bioartwork. information by , its parts. Fireside; Reprint edition Perspective: the appearance of (September 14, 1984) Colorist: artist who works with and objects in respect to their relative ISBN: 0671530771 Bio information adds color. distance and positions. Understanding Comics by Scott McCloud Layout: the planning and intended Point of view: relative position or Perennial Currents; Reprint makeup of the comic page and its angle from which a thing is seen. edition various elements. (April 27, 1994) ISBN: 006097625X Three-dimensional: having the Panel: the designation of a specific characteristics of height, width, and The DC Comics Guide composition as an independent idea depth. to Pencilling Comics within the . by

Watson-Guptill Publications; (March 1, 2002) Post -Workshop Activities ISBN: 0823010287 1. Create a weekly classroom cartoon 3. Research the history of the cartoon Comics & Sequential Art feature that you maintain for the form in American society. by Will Eisner Poorhouse Press; (November 1, balance of the school year. This Investigate the uses of cartoons as 1985) can be drawn on the blackboard, political satire, humor, national ISBN: 0961472812 printed in the school bulletin or morale, or a variant of literature. newspaper, or made oversize and hung in the school cafeteria. 4. What is the relationship between

cartooning and graffiti? Consider 2. Ask students to draw a cartoon issues of authorship vs. version of a favorite scene or anonymity; published vs. public Contact KCYA for more information about this and story. Adapt the dialogue and work; cartoons vs. graffiti as other programs setting of the story to fit the reflections of society; as agents of cartoon length and format. social change etc. 816.531.4022 KCYA.org

KANSAS CITY YOUNG AUDIENCES 3732 Main Street, K.C., MO 64111 816.531.4022 www.KCYA.org