Next/Last in-person class
Thursday, May 6
Be on time to participate in the peer assessment
and bring your laptop or tablet (not your phone).
and bring your laptop or tablet (not your phone).
Thank You!
How to Generate the Final Copy
In Comic Life 3
> Click on File in the top menu
> Click on Export
> Click on Export to PDF
> Select highest Image Limit available (600 dpi)
> Click on Next and save.
> Submit the PDF file to LEA.
In Comic Life 2 (export your project as a set of images, not pdf)
> Click on File in the top menu
> Click on Export
> Click on Export to Images
> Select High Quality
> Select highest resolution (600 dpi if available)
> Select highest resolution (600 dpi if available)
> Click on OK
> Submit all the image files to LEA.
> Submit all the image files to LEA.
WEEK 15
LAST CLASS: Thursday, May 7
in-class peer evaluation: 15% of final grade
STRICTLY FOR STUDENTS WHO WILL ARRIVE ON TIME
& BRING A LAPTOP/TABLET (no phone)
FINAL SINGLE PDF FILE (including cover page) DUE ON LEA
ON TUESDAY, MAY 5, at MIDNIGHT
Late submissions will, unfortunately, not receive
a peer evaluation (representing 15% of final grade)
ONLINE WORKSHEETS (SECTIONS 1-9)
NEED TO BE UPDATED TO REFLECT THE FINAL COPY
As you create your final copy, focus on clarity of storytelling (words & images), even gutter thickness, and straight border alignment.
Make sure your final copy is word-specific; every single panel should include words (except one or two panels per page maximum).
FINAL TECHNICAL SUPPORT: I will be available in the classroom on Monday, May 4, at 8AM (A119) and 12PM (A119). Join me at the beginning of class if you have technical questions.
Getting very close to the end!
Final Project: ROUGH BORDERS (Comic Life 3)
WHEN YOU FIRST CREATE YOUR COMIC LIFE PROJECT,
SELECT 'COMICS' >> 'BLANK (WITH STYLES).'
SELECT 'COMICS' >> 'BLANK (WITH STYLES).'
CLICK ON A PANEL; THEN, ON THE LEFT SIDE OF THE SCREEN,
SELECT THE ROUGH BORDER STYLE.
YOU CAN ADJUST THE THICKNESS & COLOR OF THE BORDER
AT THE TOP OF THE SCREEN (see arrows).
Play with line thickness & coloring to guide the gaze
background: pencil filter (in Storyboardthat)
character: grayscale filter (in Storyboardthat)
border: hand-drawn style / 3 pts thick (in Comic Life 3)
bubbles & narrative boxes: 3 point thick (in Comic Life)
Comic Life for Windows
If you struggle to install Comic Life 3 on your Windows laptop,
you may install this older version: Comic Life 2
With the help of one of your peers, and Gemini, we were able to find a way to install Comic Life 3. It is slightly technical (but really not complicated). Those of you who really want to use the latest version, please wait until next class; I'll show you the steps.
That said, Comic Life 2 is more than sufficient to complete this project.
Character Design Prompt
Create an image that contains three times the same character: shown from the front, back, and one side.
Style:
# black and white
# medium degree of realism
# no background
# white background
Character:
# male
# 50s
# short beard and curly hair (mid-length)
# jeans
# long-sleeves button-down denim shirt
# black shoes
Final Project: DIGITAL APPS
YOU WILL NEED COMIC LIFE
TO PUT YOUR PANELS TOGETHER
and ADD TEXT, BUBBLES and NARRATIVE BOXES
TO PUT YOUR PANELS TOGETHER
and ADD TEXT, BUBBLES and NARRATIVE BOXES
USE STORYBOARDTHAT
TO GENERATE YOUR IMAGES
TO GENERATE YOUR IMAGES
(background & characters)
NOT the text, bubbles & narrative boxes.
NOT the text, bubbles & narrative boxes.
* Storyboardthat: may work better with Google Chrome
WEEK 14
NEXT CLASS: THURSDAY, APRIL 30
TECHNICAL SUPPORT ON APRIL 27
TECHNICAL SUPPORT ON MAY 4
FINAL SUBMISSION: MAY 5 (midnight)
TECHNICAL SUPPORT ON MAY 4
FINAL SUBMISSION: MAY 5 (midnight)
LAST CLASS: MAY 7 (15% peer evaluation)
BRING YOUR LAPTOP
TO ALL REMAINING CLASSES
TO ALL REMAINING CLASSES
1) FINAL PROJECT: REVISE YOUR STICK-FIGURE DRAFT, for example, by adding more words (e.g., narrative boxes).
THEN CREATE ALL THE INDIVIDUAL IMAGES OF YOUR COMIC BOOK (i.e., the characters, and backgrounds when needed). That is, do not create the bubbles, borders, narrative boxes, or words.
Next week, you will use Comic Life 3 to drop the images into panels and add the bubbles, narrative boxes, and words.
If you use Gemini AI, make sure each image contains no visual aberrations.
In Storyboardthat, make the images as big as possible on your screen before taking a screenshot. This is crucial for your final copy to be clear and sharp.
On a Mac, to take a screenshot, press and hold these three keys together: Shift, Command, and 3 or 4.
On a Microsoft computer, you may use the Snipping Tool app.
2) ONLINE WORKSHEET: ALWAYS KEEP MODIFYING SECTIONS 1-9 OF YOUR ONLINE WORKSHEET TO REFLECT YOUR FINAL COPY.
Almost the end!
STICK-FIGURE DRAFTS
Your draft should include three/four pages, all the panels, characters (as stick-figures), bubbles (speeches and thoughts), narrative boxes and words.
Fill up the entire page, using properly-sized gutters and panels.
Place and size your characters, bubbles, and words very carefully.
This will allow you to assess your storytelling, test your use of comic book elements, and evaluate the balance between your words and images.
STATISTICS: Final submissions
To help you get a sense of the quality and complexity of your ongoing final project, here are some interesting statistics from previous semesters:
GROUPS ON ONE
> average number of panels >> 27 min:24 max:35
> average number of alternative characteristics (section #5) >> 12.5 min:10 max:19
> average number of comic book elements (section #8) >> 16 min:10 max:29
GROUPS OF TWO
> average number of panels >> 36 min:32 max:47
> average number of alternative characteristics (section #5) >> 14 min:10 max:20
GROUPS OF TWO
> average number of panels >> 36 min:32 max:47
> average number of alternative characteristics (section #5) >> 14 min:10 max:20
> average number of comic book elements (section #8) >> 21 min:15 max:30
CAMERA SHOTS
Ask yourself: What is the focus in this panel?
MEDIUM-TO-CLOSE SHOTS: TO FOCUS ON WORDS & CHARACTER ⤵
WIDE SHOTS: ONLY IF THE ENVIRONMENT REALLY MATTERS ⤵
★
★
★
AVOID WIDE SHOTS THAT ARE WORD-SPECIFIC ⤵
In short: Get as close to your character as possible!
The closer you are to the character, the more you emphasize their words, emotions, and personality. Zooming in draws the reader's attention where it matters most. Save the wide shots for when the setting is telling part of the story, or when you wish to introduce a new location (in the first panel at the top of a page).
DIALOGUE & BUBBLE PLACEMENT
Dialog always STARTS ON THE LEFT,
and DON'T CROSS TAILS!
Bubbles should be read in traditional Z-fashion:
from left to right, and from top to bottom.
WEEK 13 (due April 23)
> NEXT CLASS: THURSDAY, APRIL 23 <
IN-CLASS PEER REVIEW OF YOUR STICK-FIGURE DRAFT
BRING YOUR PAPER DRAFTS & LAPTOPS
1) FINAL PROJECT: IF NEEDED, REVISE SECTIONS #1 TO 7 OF YOUR ONLINE WORKSHEET.
2) NEW COMIC BOOK ELEMENTS: REVIEW YOUR CLASS NOTES & BLOG POSTS ON NEW COMIC BOOK ELEMENTS.
3) EXAMPLES: STUDY CLOSELY THE EXAMPLES OF FINAL PROJECTS FROM PREVIOUS YEARS AS WELL AS EXAMPLES OF STICK-FIGURE DRAFTS.
4) DRAFT & WORKSHEET: CREATE YOUR STICK-FIGURE DRAFT & FILL UP SECTIONS 8 & 9 OF YOUR WORKSHEET.
SECTIONS #8-9 & YOUR STICK FIGURE DRAFT ARE BOTH DUE ON APRIL 23 BEFORE CLASS.
Submit your draft to LEA as one single pdf file.
Your draft needs to be comic book size: one whole sheet of paper for each page.
The size of your panels and gutters need to be standard-sized, that is, the common size of panels and gutters found in alternative comics; drafts with very wide or uneven gutters or very small panels will not be accepted.
Your draft needs to include all the words, bubbles and narrative boxes. Think carefully about the placement of your bubbles, not to confuse your reader.
The size of the bubbles and words needs also to be standard-sized; drafts with very small bubbles or small/unreadable words will not be accepted and be considered late.
5) STYLE & CHARACTER DESIGN: CHOOSE WHETHER YOU WILL RELY ON YOUR OWN DRAWING SKILLS, USE STORYBOARDTHAT.COM, OR GEMINI AI TO CREATE EACH INDIVIDUAL IMAGE (excluding the panels, bubbles, and text).
THEN, DESIGN EACH OF YOUR MAIN CHARACTERS:
Take care!
Next class: Thursday, April 16
Next class: Thursday, April 16
We’ll be working on your final creative project.
Please make sure you have completed sections #1 to 7
of your individual or group worksheet.
Bring your laptop!
Essay II: Submission
Due date: April 20, 8AM or 12PM
Important: Follow editing rules closely.
Include at least 10 comments in the margins to complete the last process task.
Make sure your comments are visible in your submitted copy.
Include at least 10 comments in the margins to complete the last process task.
Make sure your comments are visible in your submitted copy.
Include: Works Cited, MLA formatting, and AI Usage Report**
Submission: Submit final copy to LEA.
Late submissions: will result in a late fee (5% per day)
** AI Usage Report: At the very end of your essay, following your Works Cited page, describe how AI assisted you during the editing process. Indicate which prompts you used and which ones were the most useful.
Essay 2: Editing Rules
Editing Instructions for Handwritten Drafts
First Type Your Draft as It Is!
You must first type your handwritten draft word for word. During this initial typing phase, you can only fix basic writing errors: spelling, punctuation, and subject-verb agreement (e.g., correcting he say to he says). You do not need to insert comments to identify these minor corrections.
AI Usage: You can give ChatGPT your draft (one photo at a time) and ask it to extract the handwritten text word-for-word, exactly as it is. Since your final copy must match your draft, verify ChatGPT’s transcription (every single word) to make sure it hasn’t misread your handwriting.
Editing Process
After completing the initial draft requirement, you should edit your text further, with or without AI assistance, under the following conditions:
- When using AI tools, you must only use teacher-approved AI prompts on Moodle.
- For each modification made (with or without AI assistance), you must insert a comment describing briefly the change that was implemented. If AI was involved, specify which permitted prompt was used.
- No need to insert a comment when correcting punctuation (a comma, period, or semicolon), when correcting the spelling of a word, when correcting verb-subject agreement errors ("he says"), when correcting or adding determiners ("the," "a," "an," "this," "that," "these," or "those") or when deleting a word or sentence without replacing it.
- No more than four words in a given sentence can be added or replaced.
- Only one sentence per paragraph can be edited beyond the four-word limit.
Maintaining Authentic Voice
It is crucial that all work submitted genuinely reflects your own ideas and writing style. Therefore:
- You must not use AI-suggested words that you:
- Cannot pronounce correctly.
- Cannot define without looking them up in a dictionary.
- Would not typically use in your own writing or speaking.
- You must read all AI-assisted passages aloud to ensure they sound natural and truly reflect your authentic voice.
ESSAY 2: Works Cited Page
CLICK HERE to have information on the works cited page
Your works cited page should include at least two sources: Maus II & Metamaus and/or teacher's YouTube video.
MLA WORKS CITED PAGE:
https://champlaincollege.wixsite.com/essaywriting/workscitedMLA entry for a book (for Maus II & Metamaus)
Last Name, First Name. Title: Subtitle of the Book. Publisher, Publication Year.
Make sure to indent the second and subsequent lines of citations by 0.5 inches to create a hanging indent.
Last Name, First Name. Title: Subtitle of the Book. Publisher, Publication Year.
Publication information on Metamaus (the book including the interviews)
Title: Metamaus
Sub-title: A Look Inside a Modern Classic, Maus
Sub-title: A Look Inside a Modern Classic, Maus
Author: Art Spiegelman
Publisher: Pantheon
Publication year: 2011
MLA entry for a YouTube video:
Paquet, Stéphane. "Nazi ideology & Anti-Semitism." YouTube, uploaded by Stéphane Paquet, 4 Sept. 2023, https://www.youtube.com/watch?v=kUeMybr2OmY.
Make sure to indent the second and subsequent lines of citations by 0.5 inches to create a hanging indent.
PAST FINAL CREATIVE PROJECTS
These past projects may not align perfectly with this semester's guidelines.
Made with Storyboardthat.com
Stick Figures
Hand-Drawn
AI-Generated
COMIC BOOK FRAGMENTATION
The Art of Fragmentation:
1. The Fragmented Nature of Comic Book Storytelling
Comic book stories aren't told in one continuous flow, like in a movie or a novel. Instead, they are fragmented, broken down into digestible chunks.
This fragmented state makes comic books so compelling because it allows readers to actively participate in the narrative by filling in the gaps between pages, lines, and panels.
2. Breaking Down the Big Picture
from Story → Pages → Lines → to Panels
Pages:
First, you need to divide your story into pages.
Each page in your comic should have its own one clear focus or topic. It should be engaging enough to stand as a mini-story on its own, with its own beginning and end, while still pushing the overarching narrative forward.
Lines:
Second, you need to divide each page into (usually 4) lines.
Think of the lines as steps in the development of the mini-story told on each page. Ask yourself: How may steps do I need to tell that mini-story? 3? 4? Each line must have one clear focus or topic and be a complete story in itself. It's a sub-chapter within the page, guiding the reader through the story's rhythm and pace.
Panels:
Finally, divide each line into 1-4 panels.
Think of the panels as steps in the development of the mini-story told in each line. Ask yourself: How may steps do I need to tell that mini-story? 1? 2? 3? 4? Just as every word in a poem has meaning, every panel in a comic book must have one clear focus. Whether it's a close-up of a character's face showing emotion or an action shot, each panel is a snapshot of a moment, contributing to the story's overall mood and progression.
CLICK HERE to see an example of line-by-line fragmentation:
In the story below, the first line focuses on READING. The second line focuses on BEING BORED. The third line (containing one single splash panel) reveals THE REASON WHY THE CHARACTER IS BORED: ABSENCE OF COMPANIONSHIP.
WEEK 12 (due April 16)
NEXT CLASS: MONDAY, APRIL 13
2nd ESSAY WRITING SESSION
THE ASSIGNMENTS BELOW ARE DUE IN ONE WEEK ON APRIL 16
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THE USE OF AI ASSISTANCE IS PERMITTED ONLY
TO STRUCTURE YOUR PERSONAL ANECDOTE BY
BREAKING THIS STORY INTO 3-4 PAGES (each page having one single focus)
BREAKING EACH PAGE INTO 4 LINES (each line having one single focus)
BREAKING EACH LINE INTO 1-4 PANELS (each panel having with one single focus)
& TO HAVE SUGGESTIONS FOR YOUR TITLE & COVER PAGE
AI tools will not 'understand' alternative comic book stories the way we discussed them in class. You may first want to 'prime' the AI first by teaching it the elements of alternative comic book storytelling we listed in class.
First (priming) prompt: Reply with "OK" to confirm reception of the following list of elements of alternative comic book storytelling: [paste the list here]
Second (request) prompt: On the basis of these elements, [put detailed instructions here].
Remember: your story must focus on words (thoughts, dialogues, monologues, and narrative boxes), not special locations or action scenes.
2) CREATIVE ASSIGNMENT (20%): COMPLETE SECTIONS 1 TO 7 OF YOUR ONLINE WORKSHEET.
Do NOT download or submit the online document. Just open and edit the online copy.
Please note that late completion of sections will result in a 5%-per-day late fee. This assignment will represent 20% of your final grade.
>> GROUPS OF TWO:
Log in OFFICE 365 with your Champlain user ID and password.
Open Microsoft TEAMS (in the Microsoft apps).
Go to the CHAT window.
Find the conversation your teacher created for you and your partner.
Click on the link to access your group worksheet; if needed, refresh the page.
>> GROUPS OF ONE:
Log in OFFICE 365 with your Champlain user ID and password.
Open Microsoft TEAMS (in the apps).
In the upper-right corner, click on JOIN TEAM and use the code m88tg74 if you are in the 8AM section or the code 7knuaz2 if you are in the 12PM section.
Please wait for the teacher to approve your request; once it's approved, you'll be able to open the GRAPHIC NOVELS class team.
In ASSIGNMENTS, click on 'WORKSHEET.'
Open the document resource and begin to fill it up.
Do NOT turn in the assignment; your teacher has already access to it.
TAKE CARE.
WEEK 11 (due April 9)
NEXT CLASS: THURSDAY, APRIL 9
FIRST MANDATORY
IN-CLASS DRAFTING SESSION
BRING PAPER COPIES OF
MAUS II, YOUR SKELETON OUTLINE (including "quotes" from research documents),
ESSAY GUIDELINES & TEACHER'S FEEDBACK ON YOUR 1st ESSAY.
You cannot bring the research documents (interviews or script of Nazi video).
IN-CLASS ESSAY DRAFTING: APRIL 9 & 13
An outline is a structured set of keywords or very short phrases (3-4 words) that provides a framework for your essay, like a skeleton structure. It cannot include complete sentences (except your thesis, topic sentence, and exact quotes from the interview or video on Nazism). In class, you will put flesh on this skeleton and turn these keywords into complete sentences.
Your outline and essay must align and engage with: (1) the individual notes you took as you completed the worksheet, (2) group and class discussions, (3) class notes, (4) the author's interview, and (5) the video on the Nazi ideology.
The use of other external sources or assistance is not permitted.
The language and voice of your outline must be your own. The presence of writing in your outline that does not align with your own voice due to its different style, vagueness, wordiness, or extreme sophistication or pretentiousness may result in a rejection of your final copy.
- Secondary sources: Your essay must include at least one reference to a very specific point from the video on the Nazi ideology or Art Spiegelman's interview.
Integrate this very specific point at the right place into your outline (a direct "quote" may be a complete sentence). This point can help you confirm or develop one specific point in your analysis.
Include a parenthetical reference indicating the specific time, such as (1:34), or page number in the interview documents.
- Submit to LEA a digital copy of your outline & bring a paper copy to the first drafting session. This is a process task.
FINAL CREATIVE PROJECT
2) FINAL CREATIVE PROJECT: SEND A PERSONAL MIO MESSAGE TO YOUR TEACHER TO TELL HIM WHETHER YOU WILL BE COMPLETING THE FINAL CREATIVE PROJECT ALONE OR WITH A PARTNER (name your partner).
Begin to brainstorm a list of three personal anecdotes for your alternative story. Do NOT use AI to generate these initial ideas as this would go against the very essence of alternative comics; these three ideas must be based on real anecdotes in your life.
Make sure that (1) these ideas correspond to the alternative movement as discussed in class, and (2) they would not be too difficult to illustrate graphically. In other words, keep it simple, ordinary, with an emphasis on words, not actions or unique environments.
For your information, some of you will be using Storyboard That to illustrate your panels. You may also draw, use Google's AI Gemini, or take photos. Your pick!
Take care.
WEEK 10 (2/2) (due April 7)
NEXT CLASS: Tuesday, April 7
BRING YOUR INDIVIDUAL COPY OF MAUS II
TO CONTINUE OUR DISCUSSION
& BEGIN OUTLINING YOUR 2ND ESSAY
TO CONTINUE OUR DISCUSSION
& BEGIN OUTLINING YOUR 2ND ESSAY
MANDATORY IN-CLASS DRAFTING OF 2ND ESSAY: April 6 & 13
1) RESEARCH DOCUMENT/MOODLE ACTIVITY: READ CLOSELY THE TWO EXCERPTS BELOW FROM AN INTERVIEW WITH ART SPIEGELMAN.
As you read, identify quotes you might use in your essay as you try to understand the significance of the animal heads.
CHOOSE THE MOST SIGNIFICANT QUOTE AND COMPLETE THE RELATED ACTIVITY ON MOODLE (in 'Activities').
Here are the two excerpts from the interview:
★ Spiegelman speaks about the animal metaphor.
★ Spiegelman speaks about the animal masks.
2) TEACHER FEEDBACK: READ CLOSELY YOUR TEACHER'S FEEDBACK ON YOUR FIRST ESSAY.
Your teacher should have uploaded (or will soon) his feedback on LEA in the 'Assignments' section.
Review this feedback carefully, paying attention to your strengths, and identify two or three specific goals you would like to work on in your next essay.
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3) ESSAY GUIDELINES: READ THE ESSAY GUIDELINES CLOSELY.
FINAL CREATIVE PROJECT
4) FINAL CREATIVE PROJECT: SEND A PERSONAL MIO MESSAGE TO YOUR TEACHER TO INDICATE WHETHER YOU WILL BE COMPLETING THE FINAL CREATIVE PROJECT ALONE OR WITH A PARTNER (name your partner).
Take care!
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