Using the minicomics format I wrote about last week, groups can draw an 8-page comic on the spot, with the idea that each person’s story would form a part of a longer narrative.
I’m teaching an intensive course in comics this summer along with co-teachers Tom Hart and Keith Mayerson at SVA. It’s a great group of students, and I hoped to post a video of an intensive critique of one student’s page–but the sound was too bad to salvage (need a new video camera!). Here’s the page, Read More
As I promised last week when I posted 2008 Portland workshop follow up, here’s the syllabus we followed for that class. Looking back on it now, it seems like we probably could have put more detail in there! But the group was so dynamic, and with our (then) new textbook in hand, we never felt Read More
I’m designing a whole new curriculum, which, though based on others I’ve done, still poses a lot of interesting new questions and problems. I thought I’d throw it out here as I go and see if anyone has any ideas about what I’m planning. I’ll continue to post updates as I develop this workshop, and I plan to blog it while in Miami Beach in late June.
Matt and I were in Huntington WV in February as Walter Gropius Master Artists at the Huntington Museum of Art. (I also gave a talk at Marshall University.) The museum hung a large show of our work (in conjunction with the opening of the LitGraphic show) and we offered an intensive workshop to residents of the area—a soup-to-nuts “how to think about and make comics” workshop in just two and a half days.
This is a syllabus for a five-day intensive workshop that could meet for six hours a day over the course of a week or, alternately, over the course of five weeks. It would be too much to try and get through a multiple-page story in that time, so the focus here is on learning the Read More
This syllabus could easily be used for a 12-week class as well. It would probably be enough to add a few extra work days, but you could also add back in some of the lessons we cut here, such as 5.2, “Figuring out the figure 1” and 12.2, “Figuring out the figure 2,”
This syllabus could easily be used for a 12-week class as well. It would probably be enough to add a few extra work days, but you could also add back in some of the lessons we cut here, such as 5.2, “Figuring out the figure 1” and 12.2, “Figuring out the figure 2,”
DWWP is a 15-chapter book designed to accompany a typical university-level studio art class meeting three hours a week. However, if you are actually teaching a class like that, you will quickly realize that our book is quite generously overstuffed and there is almost no way you can touch on every single item in the book in the classroom.
