At a recent conference at the University of Iowa, I drew a six-panel comic in front of six 25-minute sessions of middle- and high-school kids, one panel at a time. It was a chance to talk naturally about the order of work, the materials needed, and to show all the behind-the-scenes action.
The “pictureless comic” activity, originally from Chapter 7 of DWWP, is one that we use constantly, in formal classes, in intensive workshops, and in casual talks and improvised situations. We once did it in a lecture hall at a comic convention with 200 people! It has so many advantages: at its core, it’s a study of how comics work, the elements of comics and how they work together to create meaning, even without pictorial images. It’s also a great way to learn layout and lettering skills, and to concentrate on those technical skills, again, without distraction. Finally, it’s an activity that anyone can do. Drawing skills are unnecessary (though a design sensibility is certainly a help!).
This week’s main project: a one sheet micro-mini utilizing a real location in Miami Beach. We figured out the proportions for a 150% larger original size, and the students laid out 8 pages in their sketchbooks, and went out drawing with Caiphus in the afternoon.
7.1 Hand lettering Many students are likely to resist hand lettering at first. It’s a good idea to talk about the reasons for it that we present in this essay to get them on the same page with you. It’s great to open students’ eyes to lettering. It’s usually something that just has never crossed Read More
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