DOCSLIB.ORG

Comic Concepts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Comic Concepts Comic Lesson Plan and Artwork by John Goshorn, Sax Art Consultant, Ohio and Michigan Grades 4-12 Concepts Cross-Curricular – Math, Art History, History, Language Arts Description: In this lesson, students will be introduced to the idea of developing a visual and possibly a verbal narrative in comic book style. They may choose to use either manga, anime or traditional comic drawing styles. They will learn how to develop a story line and characters. Each student will complete at least one short comic strip. Comparisons will be made between creating a comic strip and writing a story with no pictures. Objectives: • Students will observe and discuss comics by artists of the past and present. Character and subject/story will be discussed. • Styles of drawing comics will be observed and discussed. • Students will develop a comic character(s) in one of several styles. • Students will develop a story in a sequential comic strip with a beginning, middle and end, using their character(s). Materials: Canson Comic Strip Board Pad, 150-Lb., 14-Sheet Pad, 5” x 17” (411519-705) Canson Comic Book Concept Sketch Pages, 100-Lb., 10-Sheet Pad, 8-1/2” x 11 (411516-705) Faber-Castell Pitt Artist Pen Manga Set, 8-Pen Set (409651-705) Faber-Castell Pitt Artist Pen Manga Set, Shojo, 6-Color Set (1296492-705) Faber-Castell Pitt Artist Pen Manga Set, Manga, 6-Color Set (1296493-705) Pigma Sensei Manga, 6-Pen Set (1272523-705) Sakura Pigma Micron Collection, Colors, 16-Pen Set (1272520-705) Sakura Pigma Micron Collection, Black, 16-Pen Set (1272521-705) You will also need: Pencils (#2H and #2) Erasers (pencil and ink) Rulers Masking tape Optional: Tracing paper Light box Resources: Newspaper comics from the past and present Comic books from the past and present Manga Madness, Book (405716-705) Manga Mania, Book (403626-705) Blitz Cartooning Library, Set of 2 DVDs (409678-705) Perspective for Comic Book Artists, Book (409434-705) How to Draw Comics the Marvel Way, Book (459977-705) How to Draw Hip-Hop, Book (409421-705) Anime Mania, Book (403625-705) How to Draw Dynamic Comics, Book (409420-705) Note: Check the Sax Full-Line Catalog for all of the Canson products for Comics and Manga. You will find Make Your Own Pocket Novel, Comic Book Concept Sketch Pages, Create Your Own Comic Book, Comic Strip Board Pads, Manga Drawing Pad Plus Stencils, and more. Directions: 1. Students will collect comic pages from local newspapers. When available, the teacher will bring in comics from the past. Class will discuss the subject of the story line. Does it reflect politics, community, or daily-life? How do the characters, the style, the title and the sequence of images relate to the effectiveness of the comic? Relate to writing a story with a beginning, middle and end. Also review vocabulary and parts of speech. 2. Comic idea development: The students will use a written and visual journal, Canson Comic Book Concept Sketch Pages, to observe happenings in and around their environment (school, home, community, TV news). Each day of a school week can be a certain subject goal if desired. For instance, Monday can be happenings at school. A class discussion should wrap up the class each day of the week to see what story line the students are developing in their journals to use in their comics. 3. Story and character(s) development: The students will develop a story and character(s) for a three or four- picture cartoon. The dialog is dependent on the story line. Class discussion should point out how certain comics need no dialog in their presentation. The comic idea should be roughed out on Canson Comic Story Paper using a #2H pencil. A light approach is needed here. Again, the story must have a sequence with a beginning, middle, and end. 4. Final comic: After the student has roughed out the cartoon on the Canson story paper, he or she should finish by using the Sakura Pigma Micron collection of 16 black pens. This is the process of outlining and filling in any dark areas in the character(s) and background. The student may also use colored pens if desired. The color approach should be discussed. Color is a strong element and should be used with care. How effective the cartoon is depends on all of its elements. 5. Assessment: Students will discuss their own comics and each of the elements used. The students should emphasize the source of their subject matter, the steps they took to develop their comic and why they took them, the lessons learned and their response to the process of comic strip development. National Standards: Content Standard #1: Understanding and applying media, techniques and processes. Content Standard #2: Using knowledge of structures and functions. Content Standard #3: Choosing and evaluation of a range of subject matter, symbols and ideas. Content Standard #4: Understanding the visual arts in relation to history and cultures. Content Standard #6: Making connections between visual arts and other disciplines..
Load more

Recommended publications
  • Thi Bui's the Best We Could Do: a Teaching Guide
    Thi Bui’s The Best We Could Do: A Teaching Guide The UO Common Reading Program, organized by the Division of Undergraduate Studies, builds community, enriches curriculum, and engages research through the shared reading of an important book. About the 2018-2019 Book A bestselling National Book Critics Circle Finalist, Thi Bui’s The Best We Could Do offers an evocative memoir about the search for a better future by seeking to understand the past. The book is a marvelous visual narrative that documents the story of the Bui family escape after the fall of South Vietnam in the 1970s, and the difficulties they faced building new lives for themselves as refugees in America. Both personal and universal, the book explores questions of community and family, home and healing, identity and heritage through themes ranging from the refugee experience to parenting and generational changes. About the Author Thi Bui is an author, illustrator, artist, and educator. Bui was born in Vietnam three months before the end of the Vietnam War and came to the United States in 1978 as part of a wave of refugees from Southeast Asia. Bui taught high school in New York City and was a founding teacher of Oakland International High School, the first public high school in California for recent immigrants and English learners. She has taught in the MFA in Comics program at California College for the Arts since 2015. The Best We Could Do (Abrams ComicArts, 2017) is her debut graphic novel. She is currently researching a work of graphic nonfiction about climate change in Vietnam.
    [Show full text]
  • The Practical Use of Comics by TESOL Professionals By
    Comics Aren’t Just For Fun Anymore: The Practical Use of Comics by TESOL Professionals by David Recine A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in TESOL _________________________________________ Adviser Date _________________________________________ Graduate Committee Member Date _________________________________________ Graduate Committee Member Date University of Wisconsin-River Falls 2013 Comics, in the form of comic strips, comic books, and single panel cartoons are ubiquitous in classroom materials for teaching English to speakers of other languages (TESOL). While comics material is widely accepted as a teaching aid in TESOL, there is relatively little research into why comics are popular as a teaching instrument and how the effectiveness of comics can be maximized in TESOL. This thesis is designed to bridge the gap between conventional wisdom on the use of comics in ESL/EFL instruction and research related to visual aids in learning and language acquisition. The hidden science behind comics use in TESOL is examined to reveal the nature of comics, the psychological impact of the medium on learners, the qualities that make some comics more educational than others, and the most empirically sound ways to use comics in education. The definition of the comics medium itself is explored; characterizations of comics created by TESOL professionals, comic scholars, and psychologists are indexed and analyzed. This definition is followed by a look at the current role of comics in society at large, the teaching community in general, and TESOL specifically. From there, this paper explores the psycholinguistic concepts of construction of meaning and the language faculty.
    [Show full text]
  • Manga Book Club Handbook
    MANGA BOOK CLUB HANDBOOK Starting and making the most of book clubs for manga! STAFF COMIC Director’sBOOK LEGAL Note Charles Brownstein, Executive Director DEFENSE FUND Alex Cox, Deputy Director Everything is changing in 2016, yet the familiar challenges of the past continueBetsy to Gomez, Editorial Director reverberate with great force. This isn’t just true in the broader world, but in comics,Maren Williams, Contributing Editor Comic Book Legal Defense Fund is a non-profit organization Caitlin McCabe, Contributing Editor too. While the boundaries defining representation and content in free expression are protectingexpanding, wethe continue freedom to see to biasedread comics!or outmoded Our viewpoints work protects stifling those advances.Robert Corn-Revere, Legal Counsel readers, creators, librarians, retailers, publishers, and educa- STAFF As you’ll see in this issue of CBLDF Defender, we are working on both ends of the Charles Brownstein, Executive Director torsspectrum who byface providing the threat vital educationof censorship. about the We people monitor whose worklegislation expanded free exBOARD- Alex OF Cox, DIRECTORS Deputy Director pression while simultaneously fighting all attempts to censor creative work in comics.Larry Marder,Betsy Gomez, President Editorial Director and challenge laws that would limit the First Amendment. Maren Williams, Contributing Editor In this issue, we work the former end of the spectrum with a pair of articles spotlightMilton- Griepp, Vice President We create resources that promote understanding of com- Jeff Abraham,Caitlin McCabe,Treasurer Contributing Editor ing the pioneers who advanced diverse content. On page 10, “Profiles in Black Cartoon- Dale Cendali,Robert SecretaryCorn-Revere, Legal Counsel icsing” and introduces the rights you toour some community of the cartoonists is guaranteed.
    [Show full text]
  • Manga As a Teaching Tool 1
    Manga as a Teaching Tool 1 Manga as a Teaching Tool: Comic Books Without Borders Ikue Kunai, California State University, East Bay Clarissa C. S. Ryan, California State University, East Bay Proceedings of the CATESOL State Conference, 2007 Manga as a Teaching Tool 2 Manga as a Teaching Tool: Comic Books Without Borders The [manga] titles are flying off the shelves. Students who were not interested in EFL have suddenly become avid readers ...students get hooked and read [a] whole series within days. (E. Kane, personal communication, January 17, 2007) For Americans, it may be difficult to comprehend the prominence of manga, or comic books, East Asia.1. Most East Asian nations both produce their own comics and publish translated Japanese manga, so Japanese publications are popular across the region and beyond. Japan is well-known as a highly literate society; what is less well-known is the role that manga plays in Japanese text consumption (Consulate General of Japan in San Francisco). 37% of all publications sold in Japan are manga of one form or another, including monthly magazines, collections, etc. (Japan External Trade Organization [JETRO], 2006). Although Japan has less than half the population of the United States, manga in all formats amounted to sales within Japan of around 4 billion dollars in 2005 (JETRO, 2006). This total is about seven times the United States' 2005 total comic book, manga, and graphic novel sales of 565 million dollars (Publisher's Weekly, 2007a, 2007b). Additionally, manga is closely connected to the Japanese animation industry, as most anime2 television series and films are based on manga; manga also provides inspiration for Japan's thriving video game industry.
    [Show full text]
  • Violent Comic Books and Perceptions of Ambiguous Provocation Situations
    MEDIAPSYCHOLOGY, 2, 47–62. Copyright © 2000, Lawrence Erlbaum Associates, Inc. Violent Comic Books and Perceptions of Ambiguous Provocation Situations Steven J. Kirsh Paul V. Olczak Department of Psychology State University of New York-Geneseo This study investigated the effects of reading very violent versus mildly violent comic books on the interpretation of ambiguous provocation situations, independent of trait hostility. 119 introductory psychology students read either a violent comic book, Curse of the Spawn, or a mildly violent comic book, Archie & Friends. After reading the comic books, participants read six short stories in which a child caused a negative event to happen to another child, but the intent of the peer causing this negative event was ambiguous. After each story, participants were asked a series of questions about the harmdoer’s intent, potential retaliation toward the harmdoer, and about the harmdoer’s emotional state. Responses were coded in terms of amount of negative and violent content. Results indicate that those male participants reading the violent comic books responded more negatively on the ambiguous provocation story questions than male participants reading the mildly violent comic books. For females, responding was primarily governed by trait hostility. These data suggest that hostile attributional bias may be influenced by gender, trait hostility, and exposure to violent media. Over the past two decades, voluminous research has focused on media influences (e.g., television, video games) on aggression. These studies consistently find that exposure to violent themes in media is significantly related to aggressive behavior and thoughts (Anderson, 1997, Berkowitz, 1984, Cesarone, 1998). An additional, yet understudied, source of media violence to which individuals are frequently exposed is comic books.
    [Show full text]
  • Truth, Justice, and the Canadian Way: the War-Time Comics of Bell Features Publications Ivan Kocmarek Hamilton, Ontario
    Truth, Justice, and the Canadian Way: The War-Time Comics of Bell Features Publications Ivan Kocmarek Hamilton, Ontario 148 What might be called the “First Age of Canadian Comics”1 began on a consum- mately Canadian political and historical foundation. Canada had entered the Second World War on September 10, 1939, nine days after Hitler invaded the Sudetenland and a week after England declared war on Germany. Just over a year after this, on December 6, 1940, William Lyon MacKenzie King led parliament in declaring the War Exchange Conservation Act (WECA) as a protectionist measure to bolster the Canadian dollar and the war economy in general. Among the paper products now labeled as restricted imports were pulp magazines and comic books.2 Those precious, four-colour, ten-cent treasure chests of American culture that had widened the eyes of youngsters from Prince Edward to Vancouver Islands immedi- ately disappeared from the corner newsstands. Within three months—indicia dates give March 1941, but these books were probably on the stands by mid-January— Anglo-American Publications in Toronto and Maple Leaf Publications in Vancouver opportunistically filled this vacuum by putting out the first issues of Robin Hood Comics and Better Comics, respectively. Of these two, the latter is widely considered by collectors to be the first true Canadian comic book becauseRobin Hood Comics Vol. 1 No. 1 seems to have been a tabloid-sized collection of reprints of daily strips from the Toronto Telegram written by Ted McCall and drawn by Charles Snelgrove. Still in Toronto, Adrian Dingle and the Kulbach twins combined forces to release the first issue of Triumph-Adventure Comics six months later (August 1941), and then publisher Cyril Bell and his artist employee Edmund T.
    [Show full text]
  • Consumer Target Brand Essence Marketing Highlights Licensing
    Translated from Latin as, “It does not follow,” Non Sequitur is Wiley’s wry look at the absurdities of everyday life. Often biting satire, sometimes silly, but always entertaining, his goal is to “produce the funniest, best-drawn cartoon possible, regardless of theme, subject matter or setting.” www.gocomics.com/nonsequitur Consumer Target Media • Primary: Men/Women, working professionals 26-55 • Internet: “Obviousman the Movie” featured on • Secondary: Characters Ordinary Basil, Lucy, Danae YouTube.com and Kate for Children 8-11 Merchandise Program Brand Essence • Andrews McMeel Publishing: calendars and books • Distributed by Universal Uclick since 1992 • Elite Escrow Services • The strip’s sardonic humor and distinctive art have • FranklinCovey Products given NON SEQUITUR an impassioned following among readers • Graphique de France • The comic strip does not follow any set of rules, and • Lulu changes topics and characters daily • Cafe Press Marketing Highlights Target Categories • Extraordinary Adventures of Ordinary Basil, and • Greeting cards Attack of the Volcano Monkeys (Ordinary Basil) are • Stationery available as chapter books for reluctant readers 8-10 • Apparel years old • Event/promotion • Won the National Cartoonists Society “Outstanding Cartoonist of the Year” Award in 2014 • Office supplies • Large, loyal online following at GoComics.com • Toy/Plush • Non Sequitur has received four National Cartoonists • Games Society divisional awards • The only comic strip to win the coveted Reuben Award in its first year of syndication and the only one to win in both the Best Comic Strip and Best Comic Panel categories Licensing Notables • FranklinCovey Products • Grants permission for use of characters, slogans, and comic strips to various non-profit organizations © Wiley Ink, Inc.
    [Show full text]
  • Comic Book Reading, Reading Enjoyment, and Pleasure Reading Among Middle Class and Chapter 1 Middle School Students
    Comic Book Reading, Reading Enjoyment, and Pleasure Reading Among Middle Class and Chapter 1 Middle School Students Joanne Ujiie and Stephen D. Krashen Seventh grade boys in two schools, one middle class and one in which 82% of the students were eligible for Chapter 1 funding were asked about comic book reading. Those who reported more comic book reading also reported more pleasure reading in general, greater reading enjoyment, and tended to do more book reading. There was no difference in frequency of comic book reading between the two schools. Contrary to the view of some writers (Wertham, 1954), research shows that comic book readings does not replace other kinds of reading. Comic book readers, in gerneral, read as much as non-comic book readers (Witty, 1941; Heisler, 1947; Bailyn, 1959; Swain, 1978) and the results of one study suggest they read more (Blakely, 1958). Krashen (1993) suggests that comic book reading and other kinds of light reading may serve as an important bridge from everyday "conversational" language to what Cummins (1991) terms "academic language." This view is supported by studies showing that comic book texts contain more rare words than ordinary conversation does (Hayes and Ahrens, 1988), as well as case histories of readers who credit comic books with providing them with the linguistic basis for reading more difficult texts (e.g. Mathabane, 1986). To our knowledge, all previous studies of comic book reading have been done with middle class children. In this paper, we examine comic book reading in two middle schools of different socio-economic class, one middle class and one less affluent, in order to determine the extent to which comic book reading varies with social class.
    [Show full text]
  • Between Boys: Fantasy of Male Homosexuality in Boys' Love, Mary Renault, and Marguerite Yourcenar by Jui-An Chou Graduate Pr
    Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar by Jui-an Chou Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Anne F. Garréta, Supervisor, Chair ___________________________ Robyn Wiegman, Co-Chair ___________________________ Rey Chow ___________________________ Anne Allison Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Literature in the Graduate School of Duke University 2018 ABSTRACT Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar by Jui-an Chou Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Anne F. Garréta, Supervisor, Chair ___________________________ Robyn Wiegman, Co-Chair ___________________________ Rey Chow ___________________________ Anne Allison An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Literature in the Graduate School of Duke University 2018 Copyright by Jui-an Chou 2018 Abstract “Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar” examines an unexpected kinship between Boys’ Love, a Japanese male-on-male romance genre, and literary works by Mary Renault and Marguerite Yourcenar, two mid-twentieth century authors who wrote about male homosexuality. Following Eve Sedgwick, who proposed that a “rich tradition of cross- gender inventions of homosexuality” should be studied separately from gay and lesbian literature, this dissertation examines male homoerotic fictions authored by women. These fictions foreground a disjunction between authorial and textual identities in gender and sexuality, and they have often been accused of inauthenticity, appropriation, and exploitation.
    [Show full text]
  • Webtoons: the Next Frontier in Global Mobile Content
    Media Webtoons: The next frontier in global mobile content Overweight (Maintain) Webtoons: No. 1 in Korea = No. 1 in the world Korea is the birthplace of webtoons. As a “snack-culture” format optimized to Industry Report smartphones, Korea’s webtoons have made significant progress over the years and September 20, 2019 now boast the strongest platform/content competitiveness in the world. As demand for mobile entert ainment continues to grow, webtoons are capturing the eyes and wallets of an increasing number of users, presenting a significant opportunity for Korean platform providers. Mirae Asset Daewoo Co., Ltd. Webtoons to take shape as a distinct market [Media ] Webtoons are more than just an online conversion of paper-based comic books. They Jeong -yeob Park represent a new form of content created by the mobile internet ecosystem. Not only is +822 -3774 -1652 the potential audience larger, but the time spent on webtoons tends to be longer than [email protected] time spent reading paper comics. In Kor ea, webtoons already account for the second largest share of time spent on apps, after videos. When assuming full monetization, the size of the webtoon market is on a completely different level than the traditional comic book market. Webtoons are also gai ning traction among younger people in the global market, similar to what we saw in Korea five to 10 years ago. With the help of marketing and a well-established user/writer base, webtoons look likely to take root as a new culture in overseas markets. Of note, LINE Webtoon has seen impressive user growth in the US , with 8mn monthly active users (MAU).
    [Show full text]
  • Download Download
    Visual Culture & Gender Vol. 15 2020 an annual peer-reviewed international multimedia journal Published by Hyphen-UnPress at http://vcg.emitto.net/ Points of Access: From IEP/IPPs to Possibility In this writing I consider comics-making as a medium that may Comics-making as Possibility-making: accommodate art students in grade schools by providing expanded capacities to Resisting the Inequitable Distribution of Imagined Futures imagine possibilities. Critical disabilities scholar Carrie Sandahl (2002) defines accommodation as “making modifications of the norm for the exceptional G. H. Greer body” (p. 23). Sandahl holds a position similar to that of professor of disability studies Jay Dolmage (2017) who asserts that the presence of accommodations is an indicator of inaccessible contexts, since accessible contexts are already accommodating. Accommodations are not designed to provoke the systemic Abstract transformation required for educational justice; they can however enable survival in the meantime. While working toward the goal of systemic transformation, I In this writing I investigate three mechanisms of comics that can support employ accommodations as part of a harm reduction approach to teaching. My use expanded possibilities for students in art classes: the combination of words of accommodations is not intended to emphasize the exceptionality of bodies, but and images, gaps (or spaces between images where meaning is formed rather the inaccessibility of the educational systems through which bodies move. in comics), and the technique of masking (or representing reality through As an instructor, I encourage the pre-service teachers in my classes to expand their fantasy). Respectively, these qualities may facilitate possibility by offering thinking about what can and must be accommodated beyond the current menu unique modes of communication with self and others; providing agency of options on Individual Educational or Program Plans (IEPs or IPPs).
    [Show full text]
  • Comics and Controversy: a Brief History of Comic Book Publishing
    A supplement to The Pocket Lawyer for Comic Book Creators by Thomas A. Crowell, Esq., (Focal Press, 2014). © 2014 Thomas A. Crowell, Esq. Comics and Controversy: A Brief History of Comic Book Publishing by Thomas A. Crowell, Esq. The great comic book artist, Will Eisner, defined the comic as a form of “sequential art.”1 Indeed, the narrative use of a series of images is as old as art itself: Cave paintings, Egyptian hieroglyphics, and medieval tapestries are all precursors to the comic book. Yet comics and controversy have been linked from the very start: Founder of the Protestant movement, Martin Luther, was an early target of editorial cartoons (well, engravings anyway); his critics created caricatures of him as a tool of the devil2 (so in a sense, Spider-Man can trace his origins, not just from a radioactive spider, but also from the Reformation). With the advent of the printing press and the proliferation of newspapers and broadsheets, satirical political cartoons soon began to appear. By the eighteenth and nineteenth centuries, editorial cartoons were a staple in the newspapers of the day. Benjamin Franklin’s famous “Join, or Die” is acknowledged as the first political cartoon in America, and served to galvanize support for colonial unity. In 1837 the first graphic novel was published by Swiss cartoonist Rudolphe Töpffer and was serialized in the American newspapers as “The Adventures of Mr. Obadiah Oldbuck.”3 Although conspicuously missing our now-familiar word balloons and sound effects, the comic book panel 1 Comics & Sequential Art. Eisner, W. (1990 Poorhouse Press (Expanded Edition)).
    [Show full text]