This module is concerned with the exploration of comic as communication in its many forms. Through a series of projects you will start to explore how narrative is derived and original characters created. The module aims to encourage you in developing a distinctive signature and demonstrates a professional pipeline of work from initial concept idea, scripted narrative through to character and environment design with pencilled sketch and inked layout with text.

Component One looks at the development of the comic as a way to communicate an original story to an intended audience. You will be given a starting point to begin developing an original story with original characters. Script and concept design which is informed by research will play an important part of the initial pitch of your idea. You will develop an understanding of the production process in producing a final piece of work with image and text.

Component Two using weekly events both nationally and internationally as a starting point, you will produce and present a range of images which convey the main or major events of that week.

Component Three This is an interdisciplinary module for writers and artists which explores the genre of visual poetry/language arts. It is suitable for visual artists who wish to work with language and text in addition to traditional creative writers. We will study the historical context of visual and concrete poetics and their application to new media in recent development. Suitable platforms for creating art and writing might include film, photography, animation, painting and drawing, and comic writing. It is an opportunity for students to bring expertise and techniques from their own chosen discipline and apply it to the production of visual poetry. The texts and images studies on this module are hybrid and interdisciplinary, spanning genres of fine-art, animation and poetry, for example, Resume I, Young-Hae Chang Heavy Industries. (http://www.yhchang.com/RESUMAY_I.html

Eisner, W. 2008. Graphic Storytelling and visual Narrative.W.w.Norton & Co. New York
Sabin, R. 2003. Comic, Comix & Graphic Novels. A History of Comic Art. Phaidon New York.
Scarfe, G. 2008. Monsters: How George Bush Saved The World ' and Other Tall Stories. Little Brown. London.
Patmore, C. 2005. Character Design. Creating Cartoon Figures for Comic Books, Computer Games and Graphic Novels. Quarto Publishing PLC. London UK.
Wells, P. 2007. Scriptwriting. AVA Academia. Thames & Hudson. London 2009. American Art. US Congress

Other Reading
Exemplars for Component 1
Millar, F. Art Janson, J. & Varlet, L. 1986. Batman. The Dark Knight Returns. Titan Books. London UK. Moore, A. Art O'Neil, K. 2000. The League of Extraordinary Gentlemen, Volume One. America's Best Comics. CA
Rankin, I. 2010. Dark Entries. Titan Books. UK

Exemplars for Component 2
Brookes, P. 1999. Nature Notes. The New Collection. Political Cartoonist of The Times. Little Brown. London
Newman, N. 1988. Spitting Image The Giant Komic Book. Pyramid Books. London
Hislop, I. 1997 The Private Eye Annual 1997. Pressdram Ltd. Worcester.

Examples of Text for Component 3
Apollinaire. 1966. Calligrammes. Editions Flammarion
Charles Olson. 1950. 'Projective Verse' in Anthology of Postmodern American Poetry. Paul Hoover, ed. NY. WW Norton, 1994.
Howe, S. 2011. That This. NY, New Directions.
Blake, W. 1789. Songs of Innocence and Experience.
Dickens, C. 1859. A Tale of Two Cities. (Illustrations by Cruickshank)
Phillips, T. 1970. A Humument.
Chang, YH. Heavy Industries. "Resume I", (http://www.yhchang.com/RESUMAY_I.html_)

Drawing Boards
Desk Space.
Computers Workshops with appropriate design software, Photoshop, Illustrator, Painter
Scanners
Internet Access
Wacom Tablets
Photocopier
The Blackboard virtual learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.

Studio learning takes place in timetabled sessions with academic staff who introduce key contextual and practice based lectures focused on the development of character design and narrative. Through these initial lectures you will gain an understanding of the core concepts, theory and tools necessary to complete the assignments for the module.

Lectures based around the role that comic imagery has played in the shaping of the UK will give you a better appreciation of the role of the satirical artist. Weekly assignments will be set as part of component 2 and students will need to liaison with lecturers and tutors to negotiate these briefs.
Independent study will form the majority of your time "answering the brief." You will demonstrate through evidence of character research, preparation drawings, and scripted narrative and application the processes necessary for completion of an appropriate response to the assignments.

You will undertake weekly briefs and drawing exercises where you look at contemporary issues in the world and develop an individual signature to express an event.

There will be a programme of workshops related to the visual texts, context, analysing and creating text art, with further individual tutorials for Component 3. One of the principles underlying this module is a mutually beneficial relationship between critical and creative thinking, that critical writing and ideas influence creative production. The practice of art can be assisted by knowledge and understanding of history and context.

Seminars and group Critiques support your studio practice through formative evaluation and will take place at critical points of the semester to review working progress. Summative assessment takes place at the end of the module where work/portfolios will be presented for final assessment.
Designated tutorials will be set up to enable students to discuss their work individually with key members of delivery staff.

Key Information Set Data:
27% Scheduled Learning and Teaching Activity
73% Guided Independent Study

Coursework will consist of:

40% Portfolio of concept designs and preparatory artwork showing characters in different positions and angles demonstrating different expressions and gestures. A script with a clear narrative must also be presented. [Learning Outcomes 2,5,6]

Creation of a short piece of narrative based comic artwork [Learning Outcomes 3,4]

All artwork must be presented in the appropriate format outlined in the brief.
All work submitted must be clearly labelled with student name and identification number

20% A range of images from an ongoing brief that looks at the world and aims at interpreting them in a stylised and witty way [Learning Outcomes 1,4,6]

A PORTFOLIO weighted at 40%. (Creative Writing)

Artist statement, or critical reflection followed by an Illustrated Essay/Comic
or portfolio of original artwork (500w/2000w)
[Learning outcomes: 7,5,8]

Key Information Set data:
100% Coursework