Group Projects for end of Semester

In the proceeding classes following the Thanksgiving break, you will be expected to work individually and 1 or more group projects.

Prior to the use of computers, all animated anime was used using light boxes. Lightboxes give the animator the ability to layer one image on top of the other by using either transparent or tracing paper. Using a lightbox, we will be making a class animation of someone running. This will give each individual student the practice of creating a figure drawing in motion.

Students will also draw, color or paint environments on 2D surfaces that will act as the running figure's backdrop.

While not working on the class animation, students are expected to tell and complete stories (have them be one page, 20 pages, 60 pages, etc.) using the Will Eisner story structure (Introduction (Which involves Characters, setting and time) Problem, Dealing with the Problem, Solution, End.

Today's Assignment:

Each student on a blank piece of paper writes a setting and a problem.

The problems are labeled with a red pen and the settings with a blue pen.

The labeled settings and problems are placed into two different bags.

Each student draws a setting and a problem.

The Student, with a ruler and a piece of paper, devies up the page into 5 boxes.

The student illustrates the setting and the problem in the first two panels. The last 3 panels are for the student to deal with the problem, solve the problem and then end the strip.

Each students is expected to use TONE in their comic book page, PERSPECTIVE either realistically, iconically or abstractly and the student is expected to WRITE HIS TEXT BEFORE ADDING BALLOONS.

This is an assignment of QUALITY over Quality. If you do not finish but your drawings are fantastic and it has been evident you have been working the whole time, It will be noted in your grade for the class.

Empathy

Empathy is the capacity to recognize and, to some extent, share feelings (such as sadness or happiness) that are being experienced by another sapient or semi-sapient being. Someone may need to have a certain amount of empathy before they are able to feel compassion. The English word was coined in 1909 by E.B. Titchener as an attempt to translate the German word "Einfühlungsvermögen", a new phenomenon explored at the end of 19th century mainly by Theodor Lipps. It was later re-translated into the German language (Germanized) into "Empathie", and is still in use there.^[1]

One of the most important elements in all anime is creating empathy.

The SWORD HUNTERS vol. 1 by Wei Lian Lin

Please get in the habit of writing your full name (your signature) on every sheet of paper. Also recommended, A good ICON. Notice how the "Vol. 1" text uses a hexagon STOP SIGN. This is asking the readers eyes to STOP and observe the volume ... It reads right to left, top to bottom.

This piece of sequential art demonstrates a unique comprehension of our studies in anime class here at Edwards Middle School. Wei Lian Lin shows and tells a balanced story, understanding subtly and story structure. The artist understands abstraction, figurative and iconic drawing styles at the basic level. He is also beginning to play with tones of dark.

Wei Lian Lin understands

Onomatopoeia.

Listen to "Gulp" and "ding dong ding dong", "words" that represent the sounds of what they mean.

Here is onomatopoeia's definition on Wikipedia.

Onomatopoeia

From Wikipedia, the free encyclopedia

Jump to: navigation, search

For comic book villain, see Onomatopoeia (comics). For the Flobots album, see Onomatopoeia (album).

A sign in a shop window in Italy proclaims "No Tic Tac", in imitation of the sound of a clock.

An onomatopoeia or onomatopœia ( pronunciation (US) (help·info), from the Greek ὀνοματοποιία;^[1] ὄνομα for "name"^[2] and ποιέω for "I make",^[3] adjectival form: "onomatopoeic" or "onomatopoetic") is a word that imitates or suggests the source of the sound that it describes. Onomatopoeia (as an uncountable noun) refers to the property of such words. Common occurrences of onomatopoeias include animal noises, such as "oink" or "meow" or "roar". Onomatopoeias are not the same across all languages; they conform to some extent to the broader linguistic system they are part of; hence the sound of a clock may be tick tock in English, dī dā in Mandarin, or katchin katchin in Japanese.

Essentially, Wei Lian Lin has shown applied knowledge. This book is a good guide book to how to tell a story all by yourself without the help or need of a fellow classmate. I believe all of you can tell graphic novels and manga series

But in order to work in a group, you need to understand every part of the group's tasks in undergoing the project.

Wei Lian Lin GETS every piece of a mini comic or web comic.

We are now going to go into production mode of constructing mini comics and "Giant Size" comics. The Giant Size comics will be made using a saddle stapler and 11 X 17 piece of paper.

The mini comics are of the same size paper but cut and folded with a pair of scissors.

Mini Comics are 6 pages with a front and a back cover.

Giant Size comics can be as short or as long as your want.

Go into groups:

GROUP 1

Student group 1 writes independently. Subject: ONOMATOPOEIA.
Brainstorm a story through the Will Eisner Story Structure as a group.
Then, individually, free write a story through the structure.
Share aloud work at the end of class. This will focus on our communication skills.

ALSO: FOCUS on diversifying VOCABULARY in these comics. Continuously saying "shut up" (which is repeated twice) makes for stilted reading. Attempt to increase the vocabulary of your writing. Try saying "silence!" or "quiet!"

GROUP 2:

PENCILED or Markered LIGHTBOX EXERCISE.

WIth GIANT SIZE paper, do abstract figure drawings. Fill the whole page with figures and lines. Think of different types of lines or dots or marks. Think of all three.

GROUP 3:


Character and Logo development. Think of interesting logos, sports team logos, school logos. Think of good characters, villainous characters, funny characters.

Now, Observe the following environments. Try putting your character into a 3D setting by using PERSPECTIVE DRAWING!

Dramatic Lighting

From wikipedia on Caravaggio:

The birth of Baroque

Caravaggio "put the oscuro (shadows) into chiaroscuro."^[31] Chiaroscuro was practiced long before he came on the scene, but it was Caravaggio who made the technique definitive, darkening the shadows and transfixing the subject in a blinding shaft of light. With this came the acute observation of physical and psychological reality which formed the ground both for his immense popularity and for his frequent problems with his religious commissions. He worked at great speed, from live models, scoring basic guides directly onto the canvas with the end of the brush handle; very few of Caravaggio's drawings appear to have survived, and it is likely that he preferred to work directly on the canvas. The approach was anathema to the skilled artists of his day, who decried his refusal to work from drawings and to idealise his figures. Yet the models were basic to his realism. Some have been identified, including Mario Minniti and Francesco Boneri, both fellow artists, Mario appearing as various figures in the early secular works, the young Francesco as a succession of angels, Baptists and Davids in the later canvasses. His female models include Fillide Melandroni, Anna Bianchini, and Maddalena Antognetti (the "Lena" mentioned in court documents of the "artichoke" case^[32] as Caravaggio's concubine), all well-known prostitutes, who appear as female religious figures including the Virgin and various saints.^[33] Caravaggio himself appears in several paintings, his final self-portrait being as the witness on the far right to the Martyrdom of Saint Ursula.^[34]

Supper at Emmaus, 1601. Oil on canvas, 139 × 195 cm (55 × 77 in). National Gallery, London.

Caravaggio had a noteworthy ability to express in one scene of unsurpassed vividness the passing of a crucial moment. The Supper at Emmaus depicts the recognition of Christ by his disciples: a moment before he is a fellow traveler, mourning the passing of the Messiah, as he never ceases to be to the inn-keeper's eyes, the second after, he is the Saviour. In The Calling of St Matthew, the hand of the Saint points to himself as if he were saying "who, me?", while his eyes, fixed upon the figure of Christ, have already said, "Yes, I will follow you". With The Resurrection of Lazarus, he goes a step further, giving us a glimpse of the actual physical process of resurrection. The body of Lazarus is still in the throes of rigor mortis, but his hand, facing and recognizing that of Christ, is alive. Other major Baroque artists would travel the same path, for example Bernini, fascinated with themes from Ovid's Metamorphoses.

DRAMATIC LIGHTING! Where would Batman be without it? The creators of batman use shadow so much, Batman becomes ICONIC in the process of the darkness.
Today I am going to introduce a new term: Lighting and TONE.

The artist in the above iconic batman picture uses darkness to express WHAT is important. This icon, being iconic, is NOT realistic. In fact, it isn't clear where the light source is. But where light HITS batman is important. His eyes, for example, are white. This is because the eyes are important. The cape is hit by light. This is because the cape is important.

Light order is used to enhance the drama of a drawing. It was done beautifully by the Baroque master, Caravaggio and we can still learn from him today.


The above picture of former Russian prime minister and tiger enthusist, Vladimir Putin, is a joke, but once again there is a logic to this joke. Dramatic lighting BLOCKS out distraction. The view does not see the environment, but rather focuses on Putin's face. The lighting is DIRECTED to show Putin's face.













The following figures are in SHADOW. Today's assignment is as last weeks. I will help you draw and I want you to make these drawings your own ... but the added bonus today is I want you all to use DRAMATIC lighting. Make sure there is a big TONAL RANGE in your drawings.


Review of Terms:

* Abstraction
* Realistic
* Iconic
* Perspective
* Will Eisner Story Structure
* Introduction (Character, Setting, Time)
* Reference

A day examples

Various Eagles!

Hi class!

Observe the various eagles drawn by the class. Observe how the STYLE changes between eagles. In review, this is because you all have unique hands! Embrace your individualism and revel in the way you illustrate the class logo. If you are interested, I can speak individually with students about your style. Ask yourself what you want your style to be. Ask yourself what it is. Ask yourself if you're interested in drawing.






















Now that we've discussed style and artistic types of drawing (abstract, realistic, iconic, etc.). Let's try to take a HUMAN FIGURE DRAWING and apply not only our style, but our own imaginative characters. Imagine Scarecrow, Bulltron Mega, Abe Lopez or some of the other characters you've developed in class in new, unique postures.

Allow me to demonstrate:

Above is a cropping of a print my mother bought at a yard sale when she was young. She gave it to me later on. She enjoys the composition and subject matter.

In my own drawing practice, I borrowed the POSTURE as reference but illustrated my own character in my own style. instead of a night in shinning armor, I've drawn a metal head with a leather jacket.

The point of this exercise is to broaden ones imagination while simultaneously working on "seeing" via figure drawing.






Using these postures, do a figure drawing ... but now make it your own! Imagine your characters in these positions. Try to do a realistic, abstract or iconic drawing of these postures but with your own imaginary characters.

Chengyi: imagine your characters in these poses!
Nathan: Why not imagine Sonic the Hedgehog with nunchucks?
Pai Ka: Give scarecrow legs and move her body!

If you have trouble - FOCUS JUST ON SEEING. Remember: These are all just exercises. The point is to not stress out about these, but to exercises your eyeballs and your imaginations!