2/19/2024 0 Comments Sequential artistAn acknowledged master of the art, Eisner worked on comics in some form until his death in 2005.įigure 1. Eisner was no doubt familiar with comic book criticism. 1), during which the government took a serious look at the content of comic books and other popular culture media. Most notable is the attack on the American comic book industry in the 1950's, significantly propelled by Frederic Wertham's Seduction of the Innocent (1954, Fig. science fiction or fantasy) story published in comic-strip format" (OED).Įisner likely invented the term in order to distinguish his new work from comic books, artifacts of popular culture with a long history of stigmatization for their alleged less-than-edifying content. The Oxford English Dictionary currently carries a definition of ' graphic novel': "a full-length (esp. Eisner's creative word-play failed to convince the publishers to whom he first offered his work, yet the designation ' graphic novel' has since entered the lexicon of literary genres (Weiner 17). Eisner used the term ' graphic novel' to describe a number of his comic book tales collected under a single title, forming a book-length publication. New York: Rinehart & Company, Inc., 1954.Īccording to the now legendary story, comic book artist and writer Will Eisner first linked the words ' graphic' and 'novel' in 1978. New York: NBM Publishing, Inc., 2003.įredric Wertham. Berkley: University of California Press, 1957. Lovain, Belgium: Leuven University Press, 2001. "Relatedness: Aspects of Textual Connectivity in Comics." The Graphic Novel. Englewood, Colorado: Libraries Unlimited, Inc., 1995. Graphic Novels: A Bibliographic Guide to Book-Length Comics. "Life: A Story in Search of a Narrator." A Ricoeur Reader: Reflection and Imagination. Chicago: The University of Chicago Press, 2003. "Word and Image." Critical Terms for Art History. Milwaukie, Oregon: Dark Comics, Inc., 1993. Cambridge, Massachusetts: The MIT Press, 1994.įrank Miller. Understanding Media: The Extensions of Man. New York: Harcourt, Brace and Company, 1927. Tamarac, Florida: Poorhouse Press, 1985: 38. If you cannot find a specific material in your area, use the closest equivalent available to you.ĭoing so will allow you to have the best possible learning outcome from this course.Saint Augustine. We have included a materials list as recommendation only. You do not need to purchase specific materials to take this course. Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.Ĭomics 1: Intro to Sequential Art Companion Guide After this course, you will have developed the knowledge to start telling compelling visual stories. You will examine the work of master comic illustrators as George lectures on their techniques. He will lecture on the foundational elements that are the building blocks of a comic book page. George will demonstrate how to make layouts and breakdown sketches, the key components to composing a story. You will learn how to turn a story into a visual narrative. In this 12-week course, renowned comic and fine artist George Pratt will teach you the fundamentals of comics and sequential art. This lesson belongs to Comics 1: Intro to Sequential Art. Lastly, he will go over the tools commonly used in making traditional comic book illustrations. George will show you his cover pages and layouts for some of his most iconic projects. You will learn his philosophy to sketching and how that informs your creativity and visual vocabulary. In this lesson, instructor George Pratt will introduce you to the world of sequential art and comics.
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