Project 10 – Self-Directed Comic

Project 10 – Self-Directed Comic

We’ve learned a lot about making comics this semester. We’ve discussed composition, word and picture relationships, pacing, panel transitions, and page design. Many of the assignments and exercises were designed to address specific problem solving techniques for visual storytelling.

Now, it’s your turn to create the comic that you want to create and to tell the story that you want to tell. Create a 6 – 8 page comic about anything you want and make it beautiful. Design a cover that represents your story and include a title as well as your name.

“Print” Comics should be laid out so that page 1 is on the right and all subsequent even pages are on the left with odd pages on the right.

Digital or “Web” Comics are acceptable and can be presented as html pasted into a browser, on a website, blog or Tumblr.

Final comics are due 4/19 to be critiqued on 4/24 and 4/26.

Project 9 – Micro Fiction Adaptation

Project 9 – Micro Fiction Adaptation

Read the selection of very short stories from Micro Fiction (edited by Jerome Stern), and chose one story to translate into a comic that is between two and six pages long.

Do you focus on accommodating every line of text while creating a very literal interpretation? Or do you try to use as little narration as possible while placing a stronger emphasis on finding visual ways of recreating the same effects the writer achieved with literary conventions such as the metaphor? What types of panel transitions suit the story? What kinds of word/picture relationships are most effective? It’s up to you!

A comparison of Paul Auster’s City of Glass and David Mazzucchelli’s adaptation is a great example of this being done well. Read through the excerpt before beginning your comic.

The Micro Fiction Adaptation thumbnail sketches are due (scanned and emailed) before the beginning of class on 3/8

Micro Fiction Adaptation comics are due 3/22 to be critiqued 3/27 and 3/29

You may work digitally or traditionally, but a digital copy of the image must be emailed to the instructor before class begins. Traditionally created work should be scanned at no less than 200 dpi. Name this image “IL220A_Lastname_Firstname_Project 9.jpg”.

Project 9 – Micro Fiction Critique Questions

Name of the critter:

Name of the critiqued:

Does this adaptation use words? If so, what types of word/picture relationships are used?

How much of the original text is used? Is it enough? Is it too much?

Is this a successful adaptation of the short story? Does the adaptation accurately capture the tone of the original short story?

Are the important narrative elements from the short story included in this adaptation? Is anything missing or misinterpreted?

Are there moments where art is used to show what is described in the text of the short story while words are used to describe something different? Are there moments that are the opposite?

How is the pacing? Does the comic feel fast or slow? Or both? Does that match the short story? Does it compliment the short story in any way? Explain.

Is the art clear? Can you easily discern foreground from background? Is the mark making descriptive? Is any of the imagery confusing?

What is the subject of this sequence? Does the sequence look finished?

Can you follow the action or actions?  What is the complete action or story arc?

Is there ever confusion about the panel reading order?

How is the “acting” in the strip?  Are character’s facial expressions and body language clear?

Is the strip interesting?  Would you want to read more?  Elaborate.

Project 8 – Timing (Hurry Up and Wait!)

Project 8 – Timing (Hurry Up and Wait!)

Create a sequence in which at least two characters are involved in the same course of action, but each character experiences that action differently. Time should move very quickly for one character, but very slowly for the other. For an example, see the "gunfighter" sequence on the first page of the Will Eisner handout, "Timing." Consider the various techniques from both the Eisner handout and Scott McCloud's 4th chapter of Understanding Comics, and use them to push the pacing of your sequence as far as possible. The fast should be very fast, and the slow should be really, really slow.

Name this image “IL220A_Lastname_Firstname_Project 8.jpg”.

Hurry Up and Wait is due 2/27 to be critiqued on 3/1.

Project 8 – Timing Critique Questions

Name of the critter:

Name of the critiqued:

Does the work avoid using words?

Is the art clear? Can you easily discern foreground from background? Is the mark making descriptive? Is any of the imagery confusing?

Does the sequence look finished?

What is the subject of this sequence?

Can you follow the action or actions?  What is the complete action or story arc?

Is there ever confusion about the panel reading order?

Does the clearly have one action which is experienced very slowly by one character and very quickly by another character?  Describe the action.

Which character experiences the action very quickly and which experiences it slowly?

How do the panels work to communicate “fast”? Be specific.

How do the panels work to communicate “slow”? Be specific.

How is the “acting” in the strip?  Are character’s facial expressions and body language clear?

Is the strip interesting?  Would you want to read more?  Elaborate.