a a2 aa aS 3: 3 ;1BUW BLURB The “One Book’ movement stacted in 1998 at the Seattle Pulclic Library, and over the past fifteen years numerous Cities, Communities, and universities have also undertaken group Ceading, programs aimed at Fostering Connections and promotin reading. For the Fail 2019 ONE BOOK UW(BUW) We have Selected an anthology of Indigenous history comics: This Place :/50 Jears Retold (Portage # Main, 2019). This booklet intraduces 1Bu0 participants to the Form of comics to endoufage discussion of how This Place works Qs © visual-verbal text. How to Cite this Booklet N APAWorks cited: Rifkind, C., Christopher B. ¢ Alice RL Gllustrator).(2019). How Comics Mork [Brochure]. Winnipeg: Depactment of SEC oe A a Cute Rr Seo Chicago Style works Cited: Rifkind, Candida and Branden Oe ee Cea em aS me ee Dee oO ee Mo ROS a eMC a eee University of Winnipey , 20/9, uwinnipey -co/1B19 (Onn VT a aaa Tra a version of this booklet.Its actualy a Field C\ of research and Schalorsinis Oreo Uta UY ecu ONC CY eC ee mC! A 2 sina Cees oer A breakthrough in onademic comics stad the 19867 publication of Art Spiesetman's Kaus Se Cou UR a ee UU eae Form’ of storytelling, From oo: aan] eee aCe The more we study comi Way aa Ren ee eee AU ae or ova METl fit Sooo ce : a ae ae rg a Li | Le — ee YsLets Deloumls some of thee MYTHS Comics ate a form, just as prose or poetry or Film are forms, We can think oF them Container that arhets can F Gi Comics are a “hybrid ~ Acr : ite Form, meaning they blur the boundenes pl 3: Comics et o> between putas ond words and between visual \ ea literactes & oyas and verbal systems of making meamng. Ae : MAPPEHENSION ST” There is o lot of work For the vamies reader as they must Fh Sigh Systern individually € iN felation to cock otheri Comics come in many shapes and sizes. = «The four main types of comics ater Comic Strip Which was traditionally printed in newspaper, is just afew panels lor with the panels laid out in one or more tows. Comic Books which is Usually @ Couple oF dozen pages long, with’ new issues in a Series published on a regalor schedule Digital Comic Winch is @ broad Category including COMIC STRIPS or COMIC BOOKS produced and distributed digtully.as well as those produced and disttibuted in print ~~ Webcomics Ond digitized For electronic publishing, are a Specific gente of DIGITAL Conics usually posted Serially on a fegular Schedule Graphic Novel ushich is a long-form comic, and either Collects previously published COMIC STRIPS, COMIC BOOKS. DIGITAL COMIC> or WEBCOMICS, Gr presents an entirely new story.Sls Uae ts a Commie? Lots of people, including academics and Comics Creators. have tried to define Comics. In Understanding Comics, Seatt McCloud. who creates Comics, Calls Comics “juxtaposed pictorial and other images in deliberate sequence, intended 40 Convoy information and/or te produce an aesthetic Fesponse in the viewer." This is abit oF a Mouthful, but it gives us Some useful terms —_juxta position, images, and Sequence. At the same time. it leaves out some important details. at California, State University Nostaridae, points out one oF the defining features of comics is the tension between tex+ond Image on the. page. In this, comics is pact of a lang tradition oF graphic storytelling which os Coxe Calison, Nigaaweridam Sinchir and Greg Bak note, 1S the oldest Form of writing, in North America, by Indigenous peoples wine used it fo communiote amengst themselves, with ronindigenous peoples, and with enhties such as animals, spirits, ond other relations. So, roughly, comics is an act form that conveys meaning tough the combination of text and imoge ond threugh the juxtaposition of those image -fexts in sequence. Ose ee Re Ae, Se} s Graphic Novel CWRITER... 72> artist the comic, including Creates the comics Bialogue, captions, Ord images in black and white a dectrigtion of the ane" lays them out on the a ge» of the comic Srctneshoeatgos natin i isbn cre ewes sgecfie, ans up into the Peneiler, who draws Peal they ox the images, and the Inker who Sometimes they are. gpes over the. Penwilers art preity vague. in black ink adding shadin and dept. 3 Te ZColourist | Takes the Writers dialogue # Adds “nV and Captions and fits tiem into the actists images, Usually in Speech balloons and Caption boxes. Some. letierers develop Special lettering For specie Chosacters or for the emotional effect the Artist's images.Remember how we said comics are a form that can Contain Many genres? Even comics based on feal events can play around with established genres to tell their stories. So what are common Comics genres today? Rua) Cero em rT Ah ae OR Person grow PRC ae neers peepee Hy wiivenneiin OR INT: Hibaeaanhs iiaieiaial acta Pee oma oF ga with other genres Such as ore oR OPAL) Crees (rats era (Toe Cree Rr Ney OTe Pe Le aC ty fete Carrom CRC rc Er ete ie SFGeience fiction) Comics - COO AC Ae ee Cr CON Om cLCOMIKS ANATOMY Comics have four basic elements (but watch out, not all comics have. these!) Panel iB Single drowing, of Frame contoining one unit oF action, thinkoF them like “stills’ in Film | moments’ in photography We're going to come bock to this because its “super important the quiter is the strip of blank c { Spoce (sometimes white sometimes /; black) between each panel aNPo. Bleed (image runs SF oFF page), Hise ful bleed image runs off Page on all sides Speech balloon That ws my lost Cookie! Nocrative box/ Voice over Thought balloon Onomatepia Borderless panel A LOC Ca eens)Scott McCloud describes ‘cartooning as a Form amplification through simpllcaton When we abstract an image though cartooning, We are nok se much eliminating. details as we are fecusing on specific details. By ='rpping down an image to its esential ‘meaning’ on ostist can amplty that measing in a way that eaistic art cant "(30) Scolt B. Henderson used as 0 reference for his representation of her in “Annie of Red River” in This Place. Henderson's rendering, of Bannatyne's face falls somewhere in the middle of a contiquam between what McCloud calls the “Teoliste” and ‘iconic’. Sree Cr Le ean We tum on historical Figace like Annie. Bannatyne, who lived b within a pocticular historical and cultural context, into a Ween ite oad eR Ure eC am ROM ee Leo Lay FF abstacton can tell us something about the message. that eee CT LocTI There are so WF Welt mary Comics styies yell there ose, 0 how Can We”, y few general terms that cate Them We can use as shorthand. RATTY or ROUGH LINE STYLE reo elo Seer gan Ce ee ener) Are oe crc ae eer en fers eee ee nos Cee Corre tea mtd Coe a ete te One) ae eee ee Taw and expressonistie than CLEAR LINE. Lo Ae can eres Lo ea re ead a ae Se OC eae [ead serine eet rer cess ey pal heribg sear ecg Fant aaai De ee Se eer ma ADA rae [ard irL is the plovernent of panels or images On @ page. Sieg eS the division of the plot into seporate incidents, moments, or nartative beats, each of which is illustrated in one panel. ft | “taacmenes | gh, tS Gr id nels arranged in Tegular Ge xes ON a page. ids can be regulor of typical (olways the same number e nels on a oF ittegular of atypical (em abe Panels on a page )- Grids divide into rows ortiers oF horizontal panels or columns of vertical panels.= bes Q WV When cartoonists break a regular grid, ye asking readers to Poy special attention to an important moment in the story. a large eed that may toke up thost of or all of a. page.DOr ua Te Cn ere Cura od at the Unversity oF Oslo, pus if, “your mind crestes connections between the individual panels, by Cee Ok a ee eae Karin. Stadying C, Yonen 4g Com YS Gea Novels. John biley § Som dugComics scholar Scott McCloud, who pioneered the theory of comics closure, describes 6 different types of ta that make use of CLOSURE (McCloud 70-72), cach of which fequires increasingly More work on the pact of the reodec: MOMENT-T0-MOMENT Sure ra Pe Mental work from the reader IAN ACTION-TO-ACTION ORCL Te subject Progressing From one action to tne. Neck SUBJECT -To-SUBJECT transitions move fom one vcd co Ce LL Reo mR TE) er Ee oe Sees Cee omens “i (aS TRULY ete Si om INS ase On Waar , POS eR earns ty > z Pe ae Reese “NON- SEQUITUR Transitions PASAT Ore er T Mt a CR a Sa LY the feader to make sense of them.Gata ol =o) nzie - Damm, Kateri, et al. Zhi ace: /50 Years Relbld. HighWater Fiess, 2019. Callison, Camille, Niigaonuewidem Sinclair, and Greg Bak. Making Use of the White Space: The Mazinbiige- Indigenous Grogitie Nove) Collection at the: University of Manitoba.” Comes tard Criheal Librorionship; Refraning the Mhiatie jn heodemne Lbrories. Edted wy Olivia Plepmeies ond Skephanie Grint, Litwin Books, 2019. Brown, Chester. Louis Rel: A Came-Ship biegraphy Tenth Annwersary Ed. Montreal: Draun # Quarterly, LO13- Haltfield, Charles. Aernative Comes: Mn Lnerging Liferabore. University Pross of M 2005. ‘Comics Terminology.” The Cente for Carton Slates hip teachingcomics.org docabs, Dale. "More Than bhords: Comics as a Means of Teaching Multiple Likrocies.” Zaglsh tourna! Vol. %, No. 3 Jansiary 2007, pp. 19-25. Kakkonen,Karin. Stdying Comics and Graphic Nove. John Wiky and Sons, 2013 McCloud, Scott. Understanding Comics: The lnvisible Art Tundra Publishing 1994.” Spiegeliman Ark The Complete Meus: Saruvors Take New York: Pantheon. (996. Further Reoding Coe am! - The Graphie. Novel: An Introcuction . rosie ay ian ia i a Bladow, kyle. “Framing Storytell Ferrand Nasratives.” aie eit Pee No. |, 019, pp. 35-52 “ms Duncan, Randy and Matthew J. Smith. The Auer of Comics: Ustary. form and Catture. ee ord Eisner, Will. Comics and Seguential Art: Principles and Practices from the Legendary aN een. pas Postema, Barbara. Narrative Structure in Comics: Making Sense of Fragments: rd ae cnain Sheyohshe. Michael A. Native Americans in Comic Books: A Crlical Study. Ae ew Tan et SeeeenneQuick Quiz Answer Key available at uwinripes. co/1B19 ~ Anatomy ofa. Comic- a. 3. 4. 5. Migoy | 6. SPLASH : SPREAD: Adapted from Jess- Smiley. comyo a Fs IBUWW 7 2019 Lents" CaS ces) Everyone is welcome to these public events featuring Indigenous comics Creatofs, artists, and writers. Sept a6 ¥ C . October 25: 1BUW Launch IBUW Writer in Residence Recep ion Jennifer Storm 2M70 Oct 23 @ 7:00- 8:30pm: Red auing the Past, Reimagiaing Oct 29@ 2:30-3:45: the Future: Indigenous Comics Today.’ uiblic Lecture by writer ion featuring Jennifer Storm, Kotherena Vermette Abe ks fh = Vowel. & Leatherdale Commons ott lenderson nber BG Nov. 29@ $:30-3:00pm oeoene IBUW Final Symposium* “Drawing Indigenous History nate speaker: Graphic Novelist IC id Alexander Robertson or . uth, Representation. and Reconciliation in Comics 2M70 * Watch For call for presentation by students, instructors, and UW community members: we ort fo hear about your experiences and tesponses to 7His Mace: /50 kars Refole! Alice RL is a profesional Hlushrator ard Act Teacher een eed) te a ae acinar Ce ee eR oT Unicom tsar EUR TS fond melds It with o signature paleHe of bright, playful hue> to creole. churning yadopositons of human brutalty ‘and erration with hope CU eae eM oe aa era CR ce crear ca Candida Rifkind is a piofssorin the Department ety Cs rie at the University of Winnipeg. where she Specializes in comics, graphic novels, and Canadian fe Te eee CUP ee eT Oya ne RO ne a eed Ue ee ee feaching Focus on early modern drama, on adaptations of Shakespeare and his works in contemporary culture, and on comics and graphic. narratives. ~q Uwinnipeg.co/1B19