In the fall of 2011 we did a comics reading series at the Brooklyn Public Library. The third book we read and discussed was Lucille by Ludovic Debeurme. Here is a slightly edited transcript of our discussion that Sunday afternoon.
In anticipation of the upcoming 24-Hour Comics event in Angoulême, France, cartoonist and teacher Dan Berry shares his pointers on how best to prepare yourself for this rewarding challenge.
Now that your students are approaching the final version of their Gag Cartoon, it’s time for some more drawing lessons. Nothing terribly complex, but these simple concepts can make all the difference in the work of a neophyte cartoonist, both in visual appeal and readability.
So after spending yesterday helping my students struggle with their nascent, shaky ideas, revising, reworking and shaping them according to the fundamentals that make gag cartoons work, what do I do? Introduce Anti-Gag Cartoons of course! Keep ‘em off balance, that’s what I say!
Early in Mastering Comics, Jessica Abel and Matt Madden discuss ‘the Horror of the Blank Page’ (Chapter 2). Every artist who has ever put pen to paper has felt it, and likely some of your students will be feeling it now.
In DWWP, Jessica Abel and Matt Madden begin with this basic unit of comic art—the single panel cartoon. This approach only makes sense, and I utilize it as well.
I am a firm believer in exploring the rich history of the cartooning medium; not only for its own illustrious sake, but as a fount of inspiration for my students’ work. (I also admit that I love teaching it. Windsor McCay, Siegel and Shuster, The Fleischer Bros., why wouldn’t you teach it?)
This is one of several features we had to drop from Mastering Comics for length, and will be posting here. For more like this, and better, check out the book! (For another sample of the kind of stuff that we just couldn’t shoehorn into our giant book, check out our guide to laying out bleeds.) Read More
As you know, cartooning is primarily about storytelling. However, for some students a big motivation for taking the class is to learn how to draw. But, as any artist knows, the best way to learn how to draw is simply to do it. Over and over again.
