Scott McCloud Making Comics - In Class Participation - 2/2

Since we were unable to attend class because of inclement weather, we will have class online.  I've assigned students questions from Scott McCloud's book Making Comics.  Please post your answers to this assignment submission point.  The length and breath of information you provide will assure you understand the material and will receive higher points for In-Class Participation for today.  

You have a week to complete this information as it's due before our next class meeting.

Austin Avalle -

1)   What are the bedrock principles of comic storytelling?

2)   What are some of the issues you will face when making a comic?

3)   What two things do storytellers want from their audience?

Courtney Boike - 

a)    What will be needed to achieve the first and second goals discussed on page 9?

1)   Of the various choices made in creating a comic, what are the essential five choices?  Provide examples for each.

Colin Davenport - 

Choice of Moment

1)   Why is the last panel on page 12 the best example of those listed in “A Man is Walking?”

2)   How does each panel further the plot on page 13?

Elizabeth Day - 

Choice of Frame

1)   What is the author discussing on page 14?

2)   What are the six panel to panel transitions discussed on page 15?  Explain each with an example.

Rebekah Ensinger - 

1)   How does the choice of frame affect the story you are telling?  See page 19 and page 24 and 25.

2)    Discuss the variety of angles or point of view shown on page 21.

Rachel Foster -

Choice of Image

1)    Style is irrelevant to depicting characters who communicate quickly, clearly and compellingly.  Provide a few examples discussed on page 27 - 29 to support this idea.

Choice of Word

2)    How can words be a powerful alley in the struggle to communicate?  Provide examples from page 30 and 31.

Carlos Garcia - 

Choice of Flow

1)    What does flow mean in regard to comics?  How can the storyteller provide clarity in the flow of comics?

2)    What is the fourth wall?  Discussed on page 33.

Peter Hemmerling - 

1)   How does your choice of frame changes from panel to panel affect flow for the reader?  Provide examples.

2)   How do all five choices come together to make a clear and concise comic?  Pages 40-53.

Bethany Hemrick - 

(Chapter Two)

1)   What will readers be looking for in comics?  Page 60-61.

2)   What three measures can you take to bring your drawings to life as vivid, believable, human beings?  Provide examples.

Emily Herrington - 

1)   What three qualities must great characters in comics have?

Provide examples.

2)   What are some ways to bring inner life to your characters?  Provide examples.

Tabitha Kennedy - 

1)   Describe a defining moment or crisis in character design/story.  Why is this important for creating a comic?  Provide exmaples.

2)   Why is it important to make characters complex in a story?  Pages 68-69.

Libby Kimbrough - 

1)   What is a model sheet and why is it important for a comic?

2)   What are the three components to successful character design?  Provide examples.

Daniel Knauff - 

1)   Why are facial expressions an important aspect to character creation?

2)    Discuss the variety of facial expressions discussed on pages 84-85. 

James Maynard - 

1)   Why is it important to understand the facial muscles which lie under the skin?  Provide examples.

2)     How would you practice drawing facial expressions?

Tucker Metcalf - 

1)   What are the basic types of expression used in many popular comics today?  Explain with examples.

2)    Mastering body language in comics means tackling which four subjects?  Pages 104-105.

Sean O'Daniel - 

1)   What are a variety of ways to show spatial relationships within body language.  Pages 107-111.

2)    How is gesture depicted visually through the dialogue on page. 116-119.

Matthew Perez - 

(Chapter Three, Four and Five)

1)   What are the seven ways words and pictures can combine to achieve a seamless balance in comics?  Discuss each separately with examples.

2)   What are the four main variables seen in sound effects within comics.  Pages 146-147.  Provide examples.

Alyssa Radel - 

1)   What are some of the suggestions discussed on pages 150-151 regarding basic storytelling? 

2)   How does the author wrap up the chapter.  Please explain.

Megan Riley - 

World Building

1)   Provides a sense of ?, ? and ? from the title?

2)   What is the difference between knowing where your story takes place and being there?

Rajestaney Small - 

1)   How do you establish shot in your story?  Pages 160-161.

2)   Compare the panel on the top of page 162 to page 160.  What are the five differences between these panels?  Provide examples.

Kelsey Smith - 

1)   How are the five senses discussed on page 164?

2)   What effects are discussed on page 165?

Jordan Tidwell - 

1)   What techniques are discussed on pages 170-171 and how would they improve your world building in comics?

2)   What are the five choices discussed on page 173 and why are they important to world building?

Christina Wood - 

Tools, Techniques and Technology

1)            What are some of the tools described on page 188 and how are they helpful for making comics?

2)            Knowing what your tools can do is half the battle in making comics.  Discuss the tools provided throughout the chapter, what types of media (what you use to make art with – like tools) are best for which style of art you wish to accomplish?

Martha Young -

1)            Are there any differences between pen and paper and digital media when making comics?  What are they and do they matter?