The Art of Visual Memory

Professor Woolley | BAM 70500-02 | FALL23

Page 4 of 9

OCT 17 | Week 7

To-Do Before Class

  • Continue working on FINAL PROJECT
  • READ: Cece Bell – El Deafo
  • READ: Robyn Chapman – Chapters 1-3

Topic: Point of View

Objectives

  • To continue exploring page-building & layout techniques
  • To share worknig methods
  • To introduce the concept of Point Of View in illustration

Activities

Warm Up!

Reading Discussion: NONE

Share: FIBDA 2023

DISCUSS: Class Catch-Up

LECTURE: Page Layout Part 2

**TEMPLATES**

LECTURE: INTRODUCE Point of View as a Storytelling Technique

WATCH: Author Chris Tebbett’s analysis of the Matrix

INTRODUCE WEEK 7 HOMEWORK

IN-CLASS EXERCISE: THR WRONG PLANET – borrowed from Jessica Abel

CRITIQUE: Work in Progress on FINAL PROJECT

Review Assignments and Expectations for Next Week’s Class



Due Next Week

  1. WEEK 7 HOMNEOWRK on POINT OF VIEW:
    • Choose short scene from any film in which you admire the storytelling. Using Chris Tebbetts Matrix analysis as a model, please label / list the director’s choice of shots. You can choose to complete this exercise in a variety ofways: You can label video clip as Tebbets did, you can screen shot and label, you can do simplified sketches using the Brunetti method, OR you can even just watch and list them in written form. The point of this exercise is to pay careful attention and consider WHY the director chose the POINT OF VIEW used in each shot.
    • POST this exercise when complete to DISCORD for discussion.
  2. CONTINUE LAYOUT FOR YOUR FINAL PROJECT – *see schedule*
    • POST your work in progress to DISCORD
  3. Reading: REVIEW Art of the Storyboard by DON BLUTH
  4. Reading: A Child’s Life and Other Stories – Phoebe Gloeckner, Frog Books
  5. Continue Diary IF IT IS HELPFUL

Frank Stockton & POINT OF VIEW

Action can often suggest the layout and framing of a shot. As always, we go back to our story. Ask yourself: What is the character doing? How do they feel about it? How should the viewer feel looking at this scene? How can I make this action clear to the viewer? These questions will help to dictate your layout (another word for composition) as well as help you choose your POV.

In this illustration by Frank Stockton, notice how the action and feeling have dictated many of these decisions.

ill_232_v9_m07_p7_stockton_10

The Moving Camera

The world you see in an illustration can be very compelling, inviting you in for deeper analysis. Or not. Much of this depends of the point of view you see it from. After all, seeing a concert or play or a game from the nosebleed seats is not the same experience at all as being up close and personal with the action. Since in illustration you can choose your viewer’s vantage point, take the time to really consider it.

Frank Stockton is a comic book artist and illustrator who is known for using point of view like a boss! We just examined one of his images in detail on the previous page for exactly that reason.

As you look at the next series of images ask yourself once again: the illustrator could choose any point of view from which to show this scene, so why did he choose this one?

Master’s Study, Frank Stockton & POINT OF VIEW

Action can often suggest the layout and framing of a shot. As always, we go back to our story. Ask yourself: What is the character doing? How do they feel about it? How should the viewer feel looking at this scene? How can I make this action clear to the viewer? These questions will help to dictate your layout (another word for composition) as well as help you choose your POV.

In this illustration by Frank Stockton, notice how the action and feeling have dictated many of these decisions.

ill_232_v9_m07_p7_stockton_10

The Moving Camera

The world you see in an illustration can be very compelling, inviting you in for deeper analysis. Or not. Much of this depends of the point of view you see it from. After all, seeing a concert or play or a game from the nosebleed seats is not the same experience at all as being up close and personal with the action. Since in illustration you can choose your viewer’s vantage point, take the time to really consider it.

Frank Stockton is a comic book artist and illustrator who is known for using point of view like a boss! We just examined one of his images in detail on the previous page for exactly that reason.

As you look at the next series of images ask yourself once again: the illustrator could choose any point of view from which to show this scene, so why did he choose this one?

SEPT 26 | Week 5

To-Do Before Class

  • Homework 3 – 4 panel comic DUE for critique. 
  • READ: Smile by Reina Telgemeier

Topic: Page Building & Layout

Objectives

  • To introduce page-building & layout techniques
  • To introduce a variety of comic writing techniques
  • To explore comics mediums and processes.

Activities

Warm Up!

Reading Discussion: SMILE by Reina Telgemeier – Karen

CRITIQUE: Finished 4-panel Comic

CRITIQUE GUIDE:

  • Clarity
  • Story Structure
  • Reading Order
  • Rhythm
  • Writing
  • Uniqueness
  • Craft

DISCUSS: Class Roles

DISCUSS: PROJECT PROPOSAL Q&A

LECTURE: PANEL AND PAGES

Key Concept Reminder:

  • Closure
  • Panel
  • Gutter
  • Tier
  • Reading Order
  • Z Formation
  • Script
  • Thumbnail
  • Page Layout
  • Caption
  • Dialogue
  • FX

DEMO SARA LAYOUT PROCESS

STUDIO TIME: Begin to layout your final project

Review Assignments and Expectations for Next Week’s Class



Due Next Week

  1. PROPOSAL for FINAL PROJECT (5 -7 minutes plus Q & A – 10 minutes each)
  2. BEGIN LAYOUT – *see schedule*
  3. Reading: Drawing Words and Writing Pictures by Robyn Chapman , UNIT 2 Page Building
  4. Reading: Cece Bell – ElDeafo
  5. Continue Diary IF IT IS HELPFUL

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