1. DGMD S-72 Graphic Storytelling: Comic Book Art and Narrative
#3: The Weirdness of Space and Time in Comics
Photoshop for Drawing
In-class Prompt #2
Comics as an Instructional Medium

2. Comics are Weird, and Magic
Let’s start by reviewing and discussing what comics can do that is different than other media. The first thing to remember is our brains are meaning-making machines, and we always want to create closure.

3. Comics are Weird, and Magic

4. Comics are Weird, and Magic

5. Comics are Weird, and Magic

6. Comics are Weird, and Magic
Through only our eyes, comics can activate our other senses one by one in vivid panels, and then all together in the gutters between them.

7. Comics are Weird, and Magic
The ability to promote closure and sensory experiences in the audience are not unique to comics, though they have special potency there. What is unique is the ability to mess with time and space. Because all panels are present simultaneously, time is not linear in comics. Our eyes wander around the page, moving to different moments in time. Each viewing can be a different experience. Some creators have even used this for narrative effect, as in the following.

8. Comics are Weird, and Magic

9. Comics are Weird, and Magic

10. Comics are Weird, and Magic

11. Comics are Weird, and Magic

12. Comics are Weird, and Magic

13. Comics are Weird, and Magic
Marcos Martin designed a run on Spider-Man in which the character explored a static background

14. Comics are Weird, and Magic
David Aja plays with similar techniques on his run with Secret Avengers, but it has more to do with action, rather than Martin’s use in contemplative scenes, like in the following.

15. Comics are Weird, and Magic

16. Comics are Weird, and Magic

17. Comics are Weird, and Magic
And this technique of characters moving against a static background can be a very useful tool for managing an explanation.
Which brings us to this week’s exercise on comics as an instructional medium.

18. Photoshop: Navigation, Drawing, & Painting
Turning the program on. Cmd+[n]= new file. Settings: 12”x12”, 300ppi. [Cmd]+[s] to save file.
In Layers, create a new layer to draw. Create a another layer for shading. Layers can be moved up or down and made invisible/visible
[b] = brush (+[alt]=colorpicker), [e]=eraser
[ [ ] & [ ] ] = change brush size.
Use a hard brush. Turn on Pen Pressure.
Canvas:[Spacebar]=Pan, [z]=zoomIn ([alt]=Out), [r]=rotate (note [reset])
ColorSwatches, Selection Masks, Move, Fill. [Cmd]+[t]=Transform
PAINTING: Make a palette of three colors: a base, a darker shadow, and a lighter highlight. With a 100% solid brush, make a rough, filled circle with the base color, and add shadow and highlight. To soften interior transitions use Push Pull: set solid brush to 30-40%, colorpick the lighter color and use multiple strokes to push it into the dark. Colorpick the darker color and use multiple strokes to push it into the light.

19. In-Class Prompt #2
Each class we have multiple exercises to explore the concepts, an optional Jam Comic, and a Prompt. The Prompts are time limited, just 15 minutes plus the break.
TODAY’S PROMPT:
“In 4 Panels, Make Sleep Interesting”

20. Comics as Explanation
Why would someone use comics to explain something?

21. Comics as Explanation Clarity: Showing, not just telling
Why would someone use comics to explain something?
Clarity: Showing, not just telling
Avoid Language Barriers: Comprehension does not depend on knowing the language
Calming: Images cut through learning anxiety
Speed: We absorb pictures faster than words
Non-Linear Absorption: Comics offer spatial exploration (moving around the page) to create increased connections

22. Comics as Explanation
How are comics commonly used for instructions?

23. Comics as Explanation
How are comics commonly used for instructions? EVERYWHERE! Legos, Airline Instructions, Ikea/furniture, Tech Manuals

24. Comics as Explanation How are comics commonly used for instructions?
In 1994, Vertigo published a Neil Gaiman story featuring his “Death” character, to explain in frank but funny terms how safer sex works.

25. Comics as Explanation
In this course we are not creating tech manuals or instructional pamphlets. This is a narrative course. But explanations, especially ordered, step-by-step instructions, are very powerful storytelling tools, because humans respond to the concise opportunity to learn. Lists have a similar effect. How might an explanatory section contribute to a larger narrative?

26. Comics as Explanation Instruction as Humor
(From web comics The Oatmeal and Junior Scientist Power Hour):

27. Comics as Explanation
b. Satire of the instructional form:

28. Comics as Explanation
c. Full Experience as Steps (including missteps). Lisa Rosalie Eisenberg experiments with steps, but includes all the mistakes and wrong turns. This meandering, anti-instructional narrative creates humor, warmth, and identification.

29. Comics as Explanation
d. Intentionally Unhelpful There are many kinds of anti-instructional narrative, playing with the form and our expectations. Consider J. L Westover’s Mr. Lovenstein:

30. Comics as Explanation
d. Intentionally Unhelpful There are many kinds of anti-instructional narrative, playing with the form and our expectations. Sometimes these touch on essential human truths about emotional and social limitations More from J. L Westover’s Mr. Lovenstein:

31. Comics as Explanation
d. Intentionally Unhelpful And more. Showing the ridiculous, the painfully awkward, the things NOT to do is an effective use of the step-by-step instructional format, because it always succeeds in surprising the reader, by subverting the format.

32. Comics as Explanation
e. Social Commentary And then there are revolutionary uses of the format. R. Sikoryak created “iTunes, Terms and Conditions” where he explores many popular comic forms and styles to play with the experience of instructions we do not normally read.

33. Comics as Explanation
e. Social Commentary In “iTunes, Terms and Conditions”, R. Sikoryak explores multiple comic styles to create a visual discussion of how the format of each style conveys information, from the steady grid pacing in Charles Schultz’s Peanuts to the dynamic layouts of Frank Miller where an explosive central figure is grounded by smaller, more static panels.

34. Comics as Explanation
f. Finally, consider instructions that are fully incorporated in a narrative, as in Eric Colossal’s Rutabaga, the Adventure Chef.

35. Comics as Explanation
SUMMARY: Steps and lists are powerful narrative tools! EXERCISE: Turn to a partner, and brainstorm at least possible scenarios for using a step-by-step instruction in a narrative, in any of the following categories (you can have multiple in the same category). You are coming up with things you would have fun explaining: a. Humor b. Satire of the Form c. Full Experience as Steps d. Intentionally Unhelpful e. Social Commentary f. Fully Integrated/contained within a larger story.

36. HOMEWORK #3: Personal Narrative Text
(Due on Piazza Thursday, an hour before class) TEXT: In around 6 numbered steps, explain something. Ideally, this should be something that has never before been explained. You are welcome to borrow from any of the forms we discussed, including the many anti-instructional narratives. No drawing is required for this assignment, but some sketching is encouraged. Consider, in particular, how you can play with the malleable nature of space and time on the page.