Visual Storytelling

Week 1	Week 2	Week 3	Week 4	Week 5
Week 6	Week 7	Week 8	Week 9	Week 10
Week 11	Week 12	Week 13	Week 14	Week 15

Week 1

Storytelling is as important as ever. While there is a decline in movie theatre attendance, there is a steady growth in video games and home entertainment. Both of which need compelling stories that can draw a potential viewer into the stories and then keep them interested. Storytelling uses imagery and storyline, the creator weaves a tale. These skills can be used for photojournalists and film makers to make strong links between images.

In this first week, we will discuss the basic foundation of storytelling – a quality story. Without a good story, great art can not save the project. Therefore, the design team needs to create a compelling, well-thought-out, structured story.

We begin by studying the elements of linear storytelling.

We also begin strengthening our basic drawing skills. The key to becoming a good artist is being comfortable and confident with a pencil. Many people are intimidated with drawing, and do not believe they can draw. My philosophy is that everyone can draw - we just all draw differently. This lesson give the learner practice drawing the cartoon head in different positions.

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Week 2

For this course, visual storytelling is discussed in two main medias: films and comic books. In both, a script is the foundation on which the entire project is built. If you have a good script, you have a good project. Period. The script is the guide that both writer and artist use to drive their work. We’ll look at what is included in a script.

In this second class, we look at the process of storyboarding. We look at examples of storyboards and how action and dialogue is conveyed. This class complements the material learned about script writing, and is meant as an introduction.

In the third class, we look at sequential art on the printed page. While similar to storyboards, comic books and newspaper comic strips are the two main media for printed sequential art. We will look at the terminology associated with comics. As with the storyboarding class, this is an overview of the comic process.

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Week 3

Stories are told through images. Camera framing is essential to conveying the story. It pulls us into the story. We study the different camera frames from the establishing shot to the extreme close up.

In this class, we discuss the various camera angles. From overhead shots to over-the-shoulder camera angles, we discuss the value of each to present portions of the story.

In this third class, we discuss panel transitions. Panel transitions help the steady pacing of the story. The speed of the storytelling is related to the number of panels used. Panels is theory in practice.

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Week 4

Having covered a lot of material to story telling, the class now practices what we’ve learned. Using the software “Comic Life,” students create a simple one-page story using photographs. The software provides panels, speech bubbles, and typography. Students then import their photos and create a simple story.

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Week 5

This week, we return to the art of story telling in more depth. We discuss the importance of context to creating believable and compelling stories. Through context, the audience develops an empathic link to the characters. Storytellers learn how to present information about the character and the main conflict. Context is essential to linking events to story

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Week 6

This week, we focus on building characters – both in writing and drawing. We practice making the human form and drawing the face and hands. We explore what is needed to make a strong character. Through workshop writing, the student explores their story idea and the main character’s personality traits.

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Week 7

This week, we prepare for the midterm. We review what is learned to this point through the learning objectives. At the end of the week, we take the midterm. We’ll also talk about perspective in drawing.

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Week 8

This week, we begin building a three-panel-comic strip. We write the first draft needed for the strip. Students study the art of telling a joke, the essence of humor, and the allure of physical comedy. We discuss how to pace a joke, or storyline, through the three (or four) sequential panels.

We create a model sheet of our character. We bring our character alive by drawing. By the end of the week, students have their three-panel-comic penciled.

We also discuss the early history of visual storytelling. Beginning with the cave paintings of France, we move to the Bayuex Tapestry, and conclude with the Yellow Kid. More of the history is covered later in the course. We discuss the role of comics to talk about social issues.

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Week 9

The students now ink their three-panel-comic strip. The artwork is scanned digitally, and the dialogue is added. During this week, students also write their scripts for the three-page-comic book. Using the knowledge learned about camera framing, angles, and panel transitions, the students meet in some groups, share their scripts, make comments, revise characters.

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Week 10

Students rough the three-page comic book this week. Each day, students pencil the layout of one page. Students work to use different camera angles and panel transitions for storytelling. Through readings and lecture, the student explore how video games use non-linear and interactive forms of media.

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Week 11

Students make tight pencils of each of the three pages. Students will continue working on the quality of their drawings.

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Week 12

Students ink the three pages. We’ll look at different inking techniques and their effects.

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Week 13

Students scan and digitally add text to the three pages. We’ll look at different examples and how they are used. We’ll use Adobe Photoshop to make corrections and delete page mistakes.

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Week 14

In this week, the students finish their comic book. They will turn in their finished, printed (and digital copies) for grading. We’ll discuss animatics and their use in storytelling. Students will have a weekend workshop to make an animatic video complete with audio dialogue.

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Week 15

We discuss the use of comics for various purposes, such as education and political information and propaganda.

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