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description= 5 posts published by jenvaughn, srbissette, Chuck, and Robyn Chapman during August 2010;
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Text of the page (random words):
ne i ve been teaching the comics as communication course at least every other year since then mjs i had an english instructor as an undergrad who taught an american culture course with a comics chapter in it we spent a couple of days on that and it got me thinking that i could turn my lifelong love of comics into something scholarly but my initial efforts were lukewarm at best i taught a few lessons here and there as a grad student and a probationary faculty member but once i got tenure i got bold enough to suggest a whole course on the subject which i ve loved teaching ever since srb connect the dots for us please what led to your decision to collaborate on this book rd i had been building pieces of a comics textbook over the years as i taught my comics course single page handouts became multi page and a few of them even grew to chapter length i suppose from chats with friends and presentations i had given at conferences it was fairly well known in the comics scholars community that i wanted to put together a textbook so one day at san diego comic con matt smith stops me in the hallway and shows me his outline for a comics textbook he had been showing it around at the con and someone mentioned i was working on something similar it turned out our ideas were extremely similar so it was only natural to collaborate rd now i have to admit my memory is pretty unreliable so i tend to take the stan lee approach and every time i tell a story it is somewhat different that may or may not be the way it happened matt mjs randy makes me sound like a bit of a floozie showing my outline to just anyone actually randy s bio in the conference program listed him as having begun his textbook project which was prompted me to come forward in truth i did have a hard copy with me just in case i ran into a publisher or other opportunity presented itself and it did thankfully mjs i ve long admired the way that film studies achieved respectability in the academy a process that began when film scholars first published their own scholarly journals and then began to publish their own textbooks it seems that comics scholars have already been well invested in publishing journals but that no one had taken the initiative to get a textbook out there while i hope that people find the book useful as a tool for classroom use my ultimate hope is that in its own small way the very existence of the power of comics adds to the legitimacy of comics as a bona fide area of study in the eyes of naysayers in more traditional disciplines srb before we get into your book let s lay a bit more bedrock let s talk a bit about the field of books about comics what books of that ilk did you originally adopt in your classrooms that were of use and why rd when i began the class i relied heavily on will eisner s comics and sequential art it s a very accessible work i think it is still one of the best books for introducing the neophyte to the formal aspects of comics when scott mccloud s understanding comics appeared on the scene i made that required reading students in general and the non comic book readers in particular loved understanding comics i still recommend reading it but i quit requiring it for one thing comics scholars began producing journal articles and books that analyzed comics with more focus and greater rigor also i was starting to develop my own theories about comic book form mjs in my first iteration of the course i used eisner s comics and sequential art r c harvey s the art of the comic book and mccloud s understanding comics to try to get students thinking and talking about the form of comics i really wanted to focus a good portion of the course on understanding how the comics medium communicated ideas in its distinct ways srb what books do you now use and why i m asking what you used prior to power of comics being published of course mjs i began using the power of comics in its draft form with my second outing with the course and have in the successive iterations since it s now become the book about comics that we read since it covers history form culture and implications with one consistent voice in all versions of the course i ask students to read about eight different graphic novels or trade paperbacks i always teach maus and watchmen as they are the acknowledged masterpieces of what can be done with the form i ve found positive responses to fun home and bone when i added them to the mix i ve also used books like the best of simon and kirby a contract with god and sin city among many many others that i ve experimented with over the sections i basically assemble a mix to try to give students a sampler of what the medium offers from various genres creators and eras rd from the beginning decades ago i started creating my own handouts to explain some concepts each time i taught the class i expanded the existing handouts and added some new ones soon i had enough substantive handouts that they were operating as the de facto textbook for the course those handouts were the precursor to the power of comics luckily matt had been developing very similar ideas and approaches in his class the work each of us had already done meshed very well into the beginnings of an introduction to comic books textbook as for creative works i usually provide a pool of choices for each of the five analysis assignments the hsu library has extensive graphic novel and trade paperback holdings so students don t have to buy books for most of their assignments we always start with a spirit story and i hand those out from my personal collection of kitchen sink reprints some years i have required all the students to read the same book for one of the assignments i used maus and watchmen but i ve also used some overlooked gems such as it s a bird and uncle sam srb what were your goals once you both rolled up your sleeves and decided to collaborate on this project rd by the time we started working on the power of comics there were scores of books and hundreds of articles written by comic scholars but there was no one book that served as a gateway to that growing body of literature there was no textbook that synthesized the best of the insights from the academic literature and made them accessible to an undergraduate student with no background in the subject matter every established academic field has such texts i think matt and i both entered into the task with the hope that such a textbook might help establish comics studies as a field mjs for me the primary objective was to create a textbook that would allow a college instructor to hit the ground running hence we have a lot of pedagogical tools in the book from discussion questions to learning activities to a glossary and so on secondarily i wanted to make some small contribution to the vindication of the medium the fact a college textbook for comics arts studies exists and is in use if by no one else than randy and me is a positive nudge forward for the field i hope srb let s talk about your process how long did it take for this to take shape from conception to publication and what were your stages of collaboration rd testing the waters for this project goes back to the 1990s randy scott the librarian who oversees the incredible comics special collection at michigan state university and his graduate assistant at the time peter coogan published a comic studies newsletter that was instrumental in creating a community of comics scholars one project peter undertook through the newsletter was a directory of comics scholars i send a survey to everyone in that directory asking them what they would want in a comics textbook the results were part of a paper i presented at the comics arts section of the popular culture association conference and from that audience i got more direct feedback one of the main things i learned was that it was going to be impossible to have one book that would please everyone those of us working in this field are coming at comics from diverse disciplines and perspectives however the experience did influence the early version of my outline from that outline i began to construct a few well matt referred to them as chapters but that s generous fragments is more accurate perhaps working on my own i would eventually have finished a textbook but certainly not before matt working on his own would have published his book we made continuum s deadline mostly because he has a discipline and attention to detail i sometimes often lack i was lucky matt sought me out rather than just starting to work on his own mjs i started working on the power of comics in 2005 when i taught a course in media research with a focus on comics scholarship with my students functioning as research aides i began to pull together an outline for what a comics studies textbook might look like then in 2006 i headed out to comic con international for the first time outline in hand hoping to find some publishers who might be interested in the prospect while i was there i attended the comics arts conference and read in randy duncan s biography that he had written a comics textbook i hadn t run across this book in my research so i introduced myself to randy asking after the book it turned out that randy had written several chapters of the book which he was using in his class at henderson state but hadn t published it we talked exchanged outlines and chapters when we got back to our respective campuses and realized that we had about 80 overlap in our vision of what a comics textbook should look like from there we negotiated that remaining 20 and came up with basic design of what you see now we both took the leads on key chapters but inevitably we began rewriting one another as we moved forward even adding sections to one another s chapters to help flesh them out as we proceeded however we were in constant contact with one another throughout the process talking editing and commiserating whenever appropriate randy is an incredibly gracious collaborator and i m lucky to get to work with him ___________________________________ to be continued next week note this interview is 2010 stephen r bissette all rights reserved posted with permission of all involved 1 comment posted in education teaching caboose zines posted on 08 20 2010 by chuck leave a comment liz mason sent over a pile of her zine caboose liz seems to be from chicago thanks liz they will have a place in the schulz library zine garden forever chuck forsman leave a comment posted in uncategorized tagged caboose zine zines these top cartoonists posted on 08 16 2010 by robyn chapman 1 comment today we have a guest entry by ccs alum al b wesolowsky below he offers a thorough overview of the comic strip time capsule these top cartoonists tell how they create america s favorite comics look for more entries by al in the future robyn chapman these top cartoonists by al b wesolowsky figure 1 these top cartoonists tell how they create america s favorite comics is a snapshot of newspaper comic strips in 1964 when that form routinely commanded two pages in daily papers and a separate comics section in color on sundays since the mid 1990s however newspapers have struggled financially as the explosive growth of the world wide web has created a new model for the delivery of content and more than a few have ceased their print versions altogether newspapers have always relied upon advertising as their principal source of income and declining advertising revenues means decreased budgets for comic strips fewer sales by comics syndicates fewer comics and ever decreasing reproduction sizes for the strips these top cartoonists serves as a reminder of the role comic strips played in popular culture only a few decades ago and provides biographical details and personal reminiscences by 39 cartoonists from alphabetically alfred andriola kerry drake to chic young blondie it is a large format publication akin to the instructional manuals one sees in art supply shops with titles such as how to draw animals or landscapes for the beginner although most of the entries do contain a few sentences on tools materials and process this is not a how to book figure 2 each page is devoted to a single cartoonist or more accurately to a single strip since a number of the artists identify their writers and assistants with a photograph of the cartoonist and a few sample drawings or panels from their work the reproductions of the comics are beautiful retaining crisp details and deep blacks that allow an all too brief glimpse of the quality of drafting in many of the strips recall that the artists produced at least six of these strips every week month after month year after year a rate of work that seems impossible when we consider the pace for say creating a graphic novel those who maintain web comics that are updated frequently however will appreciate stress of the need for new content at short intervals i grew up with most of the strips covered in these pages since my family took both the morning and evening papers younger folks may not be aware that most major american cities once had at least two competing papers each with their own set of comics each day i had several full pages newspaper sized pages too not dinky tabloid pages of new comics to pore over with characters i loved and worried about gus arriola s gordo v t hamlin s alley oop milt caniff s steve canyon roy crane s buz sawyer walt kelly s pogo mort walker s beetle bailey alfred andrioli s kerry drake and many others present in these top cartoonists figure 3 each page contains a statement by or about the artist with a few essential biographical details credit is given to those colleagues today we would call them writers who provide continuity and to assistants who drew in some cases backgrounds or figures lettered or inked the pencils most entries mention the schedule of producing daily strips which often precluded any real vacations for the cartoonists each entry has a paragraph or two that describes the working process brainstorming stories penciling lettering inking and packing and shipping the boards but never in any detail still one appreciates that these cartoonists were able to make a living at work that they clearly loved with several comments along the lines of i can t believe that i get paid to do this only a few samples from each strip are reproduced but just about every entry discusses the writing behind the art without good writing we are told the strip will have little appeal regardless of the quality of the drawing there is a particularly salient comment from hal foster prince valiant i have emphasized the story idea here because of all the aspiring young students who have asked my advice not one has seemed to consider it at all their interest was in the pens and brushes the paper size how to draw a funny figure and would i introduce them into my syndicate mr foster would surely have approved of the emphasis on writing in the ccs curriculum a particular strength of t...
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