Simple Rotoscoping with Adobe Photoshop
What should I be doing?
You should be creating something wonderful. Possible projects are:
Mr. Richards does not want to hear any variation of the phrase, "I'm done." If you have finished with one project, you should start working on another. It is okay to be between projects for a while, but try not to make a habit of it.
Remember, after you have saved your work (File > Save As), you should export your work as a .gif in order to upload your progress to Google Classroom (File > Export > Export Animated GIF...)
But I don't want to work in Adobe Animate; what should I do?
Creating a Comic Strip
When you go from a single panel to a sequence of panels, the choices you have to make increase exponentially. This activity will get you thinking about how to approach those choices; plus, it's fun!
Draw a story line using as many panels as you need, one panel per Post-it note. Here is a potential story line, but you can choose to develop your own:
Take a look at the extended comic. Think about how you might change the sense of time passing by adding, subtracting, or rearranging panels. It might feel a little bloated in spots now. Does the astronaut need a long, contemplative space walk to set the scene? How does he figure out that she or he figure out that she or he is on the wrong planet, and is it a positive or negative realization? Are there funny bits in the story? How can you make them funnier? Draw at least four new panels, and remove at least two at this stage.
How many panels can you remove and still tell the whole story? How much will readers be able to understand by implication? What is the story you want to tell? Read the story again, and figure out just how much you can remove. Take those panels out, then assess it again. Can you take more out? How low can you go? At this point, the story may have changed quite a bit from its original version. If, for example, you have some funny business, how many panels can you subtract and have the joke still work? If the joke isn't part of the basic story line, can you stand to cut it?
It is time to start putting words and pictures together
The goal here is to make funny "gag" cartoons. Add captions to your images. Your goal is to come up with captions that are as silly and unlikely as possible for the images you create. Think in terms of contrasts or ironic commentary. Repetition is key. It's important that you flex your writing muscles repeatedly so that you can get comfortable with thinking through how words and images work together.
Drawing Words and Writing Pictures
Action Within a Drawing
One of the primary things we look for in comics is some kind of story: a narrative. That narrative can take many forms, but one of it's central functions is that it gives the impression of time passing, or action happening. It's a kind of magic, really; you read a comic about a baseball game, and you can mentally "see" the ball getting hit, the runners circling the bases, and the shortstop throwing the ball home.
At the most basic level, comics tell stories by creating a sense of movement and of time passing within each drawing. Let's look at how this works. In this activity, you will learn how to portray different kinds of motion within a single drawing. The challenge is obvious: your drawing doesn't literally move. How can you bring it to life?
Following is a list of five moving objects. Sketch them in five separate drawings, each one a single image (not in a sequence). Don't draw a panel border around the image.
Post a photo of your drawing to the Google Classroom webpage. Look carefully at all of the drawings. Compare different versions of each object drawn by your classmate. Which drawings are most successful at depicting movement? Which are not working, and why? Make a mental list of all the techniques people use to imply motion.
Action Within a Panel
People "read" drawings in comics much like words: Although drawings are aesthetic objects, their primary purpose in comics is not to look pretty but to carry information about what's happening in the story. And, just as with readers of texts, readers of comics tend to start each panel at the top left and read across to the right, then down, back to the left and across to the right again.
Let's look at how to incorporate multiple actions within a single drawing. Also, pay attention to how putting a panel border around that drawing affects the reader's understanding and the rhythm of the image.
Draw boxes on three separate sheets of paper, each one about four inches high and six inches wide. Then draw each of the following three scenarios:
Scenario 1: A ball crashing through a window into a kitchen and rips through a newspaper of a person sitting in the room. The person reacts to the window breaking. Optional: A dog catches the ball in midair after it comes through the newspaper.
Scenario 2: Person 1 trips person 2. Person 1 is laughing, person 2 is trying to catch him or herself and is knocking over a lamp.
Scenario 3: Two guys are fighting. Guy 1 throws a rock at guy 2. Guy 2 is hit by the rock, which makes him accidentally shoot his gun into the air. The bullet hits and breaks a chain holding up a heavy lamp over guy 1's head.
Post a photo of your drawing to the Google Classroom webpage, and look at it carefully, and at other students' work. For each panel you can ask some or all of the following questions:
*emanata: the various sweat beads, motions lines, curlicues, and stars that emanate from comic characters.
In this chapter's activities, you have practiced drawing situations that were scripted for you. Now you have an opportunity to reinforce what you have learned by drawing an original single panel drawing depicting a number of actions happening either in sequence or simultaneously.
Draw a 5" X 7" panel border, and create a drawing (in pencil) that contains the following elements:
Cartooning: Course Syllabus
Objectives: The goal of this class is to develop as cartoonists and animators. We will accomplish this goal by studying various concepts in art, design, and animation. We will apply those concepts through traditional drawing and illustrating techniques, digital manipulation of our hand-made art in Adobe Photoshop, and animation in Adobe Animate.
Through the practice of traditional drawing and illustrating techniques, we will develop artistic skills. Like any skill, the key to improvement is practice. If you enjoy drawing, this will be easy.
With Adobe Photoshop, we will adjust the drawings we have created, and learn various techniques for coloring and shading our drawings.
With Adobe Animate, we will learn how to create two different types of animations. We will learn how to create frame by frame animations, and vector animations.
Although we will learn about various elements of art and principles of design throughout this course (including line, shape, and color), the concept we will concentrate on the most will be sequencing.
Grades: Grades will be based on exercises and projects.
Exercises: Exercises will typically either be step by step assignments with accompanying demonstrations or they will be assignments based on reading and interpreting text.
Projects: Projects will apply the art and design concepts we have learned, and the skills we have developed by performing exercises. Each project will include a critique and self-reflection.
Due-Dates: Assignment due dates will be posted on the class website (http://misterrichards.weebly.com/). Work will be counted as late if it is turned in more than one day past the due date (students with excused absences will receive extra time to complete assignments). Students will need to make special arrangements to turn in work they wish to have graded more than one day past the due date. Work that is turned in late will receive a 5% grade reduction. Work that is more than a week late will receive a 10% grade reduction. Work that is more than two weeks late may not be graded. If you are absent, it is your responsibility to determine what you missed, and turn it in.
Disclaimer: The content of this Course Syllabus may be changed by the instructor at any time.