Wednesday, October 15, 2014

Microfiction Adaptation

Read the selection of pieces from a collection of very short stories (Microfiction, edited by Jerome Stern), and chose one story to translate into a 2-4 page visual sequence. Don’t focus on accommodating every line of text. Instead, try to use as little narration as possible and place a stronger emphasis on finding visual ways of recreating the same effects the writer achieved with literary conventions, such as the metaphor. A comparison of Paul Auster’s City of Glass and David Mazzucchelli’s adaptation is a great example of this being done well.

Microfiction adaptation thumbnails due 10/20 (Please scan and email these to me before class)

Microfiction adaptation due 10/29 to be critiqued 11/3

MIcrofiction Critique

Name of the critter:
Name of the critiqued:

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

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

What types of word/picture relationships are present? Site a few examples.

Can you understand the sequence without the words? Can you understand the narrative without the images?

Is the lettering legible and consistent? Does it compliment the art?

Is the art clear?  Can you tell what is going on at each stage? Does the aesthetic match the subject matter?  Does the art look finished? Be specific, citing both positive and negative examples.

How is the pacing? Too fast or too slow?

Is there ever confusion as to what order in which to read the panels?

Is the page well-organized? Does the layout of the panels add to the communication of the story?

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

Wednesday, October 8, 2014

20 Phylacteries!

Phylactery is the name for speech scrolls which appeared in medieval art, and is a fancy way of saying “word balloon” when talking about comics. Create a one or two page comic in which you use at least fifteen different phylacteries and fifteen different approaches to lettering in your comic. The word balloons and lettering should be carefully considered and created with great care. They are not secondary to the art.

Think about your text as supporting characters.  What would very icy words from someone look like?  How can you depict a heated debate with your text and/or balloon?  What are you communicating if your words are too big for your balloon and pop out of it?  What are you communicating if your words are microscopic inside of a large, empty balloon?  What happens if there IS NO balloon?

Furthermore, think back to the idea of synaesthetics from Chapter 5.  Can you also incorporate the other senses with your balloons and lettering?  Give it a try!

20 Phylacteries Comic is due on 10/1 to be critiqued on 10/3.