The Nonfiction Comics Anthology Project is a project-based course in which students will produce a series of nonfiction comics about real places, times and people. This course is focused on the power of comics as an explanatory tool–how to use the medium to communicate a vast amount of real-world information in a concise way that leaves a deep impact on the reader. There will be reading assignments and discussions of works in nonfiction comic genres such as memoir, history and journalism.
The main project in the course will involve students working together to accumulate research and then collectively produce an assembly of related nonfiction stories. The form of the final project, whether a collection of minicomics or a standalone anthology, will be reached by consensus. We will explore and develop a range of tools and methods, including working with local historical societies, and end the course with a finished, lasting object to share.
Many of the exercises and projects will have a central aim of teaching and building skill sets, but at some point, we’ll transition to the goal of creating the best work of art we can in a graphic novel. But both those course elements—learning and creating—will only be successful if we proceed from the notion that we are all engaged in a process whose sole goal is the understanding and promulgation of art. This course will take us from scratch to a final publication of some sort, which we will celebrate on the last day of the course with a public release party. The quality of whatever we celebrate that day is entirely in your hands.
This Will be a Workshop-Based Creative Zone, so feel free to bring your art supplies, devices, music, small stuffed animals—anything that will inspire your best work.
Collaboration Will Be the Norm, and your comfort level will depend on previous experience with groups, your ability to be inspired by others, and the degree to which you can share creative control. Collaboration challenges your instincts, makes you question your artistic decisions, asks you to articulate your aesthetic, opens the door for innovation and synergy and allows you to contribute to something much larger than you’re individually capable of.
The collaborative nature of this creative process will be both the greatest and toughest part of the process. Our challenge is to find ways to insist on excellence while being open to other’s ideas. Your initial idea will not always carry the day—in that case, you must find ways to continue to contribute your very best. Our great helpers will be humility, hard work, mutual respect, and a sense of humor.
Course Structure:
Weekly Reading—There are several graphic novels on the reading list, so in the early weeks you’ll be responsible for reading about half a book to a book a week. All readings will be followed by class discussion, with an emphasis on how these texts can help us think about our own project.
Discussion—I want to hear your insights and opinions on the books we read—and the book we write. Quality, not quantity is the key. The best way to prepare for the discussion is to read deeply (not skim in a rush) and to finish the homework well before class.
Homework—make sure all assigned work is completed in time for class. If you are unsure what your responsibilities are, check with Andy before you leave the class.
Lectures—At the beginning of class, I will give a weekly lecture on topics ranging from craft to my personal experience with the comics industry. Please feel free to take notes, doodle, or draw during these talks, and ask as many questions as you want, both during and afterwards. If you have any specific things you want to hear from me about, please reach out.
Early Projects—The course will begin with a series of one-page comic projects. These are meant to establish familiarity with the material we are working with, to generate content that might be of use to the final project, and to create accountability for finishing things. The last aspect is crucial–every assignment in this course is a step towards a completed, finished thing. We will hold each other accountable for finishing these things, and being open to our classmates reading and critiquing them.
Overall Project—The goal for the course is the group creation of a collection of intertwined nonfiction narratives. This process will include selecting and acquiring source material, adaptation workshops, story development, critiques, creating production schedules, project layout and assembly and printing process and coordination. The focus, form and content of the project will be achieved by group consensus, guided by the instructor.
Attendance is crucial; if you must miss a class or lab, I expect you will make arrangements with me beforehand. Come to class, come on time, and come prepared.
Technical issues—Please alert Andy immediately to any technical issues you encounter related to art (saving, scanning, etc.) or collaboration
Texts for Applied Comics Spring 2023:
A broad note on the reading list for the Nonfiction Comics Anthology Project: This class is structured around the reading, analysis and creation of nonfiction and as such deals with many texts that were created with the intent of bearing witness to trauma and injustice, from a personal, historical or journalistic perspective. These texts were intended by their creators to challenge and provoke their readers, but also to lift up marginalized voices, rather than revel in the brutality of their oppression.
March: Book One by John Lewis, Nate Powell & Andrew Ayden (EV, RA)
Wake by Rebecca Hall (EV, SA, SE)
Guantanamo Voices by Shay Mirk (EV, SA, RA)
The Fixer by Joe Sacco (EV, SE, RA, SH)
Citizen 13660 by Miné Okubo (RA)
Ducks by Kate Beaton (SE, AC)
The main project in the course will involve students working together to accumulate research and then collectively produce an assembly of related nonfiction stories. The form of the final project, whether a collection of minicomics or a standalone anthology, will be reached by consensus. We will explore and develop a range of tools and methods, including working with local historical societies, and end the course with a finished, lasting object to share.
Many of the exercises and projects will have a central aim of teaching and building skill sets, but at some point, we’ll transition to the goal of creating the best work of art we can in a graphic novel. But both those course elements—learning and creating—will only be successful if we proceed from the notion that we are all engaged in a process whose sole goal is the understanding and promulgation of art. This course will take us from scratch to a final publication of some sort, which we will celebrate on the last day of the course with a public release party. The quality of whatever we celebrate that day is entirely in your hands.
This Will be a Workshop-Based Creative Zone, so feel free to bring your art supplies, devices, music, small stuffed animals—anything that will inspire your best work.
Collaboration Will Be the Norm, and your comfort level will depend on previous experience with groups, your ability to be inspired by others, and the degree to which you can share creative control. Collaboration challenges your instincts, makes you question your artistic decisions, asks you to articulate your aesthetic, opens the door for innovation and synergy and allows you to contribute to something much larger than you’re individually capable of.
The collaborative nature of this creative process will be both the greatest and toughest part of the process. Our challenge is to find ways to insist on excellence while being open to other’s ideas. Your initial idea will not always carry the day—in that case, you must find ways to continue to contribute your very best. Our great helpers will be humility, hard work, mutual respect, and a sense of humor.
Course Structure:
Weekly Reading—There are several graphic novels on the reading list, so in the early weeks you’ll be responsible for reading about half a book to a book a week. All readings will be followed by class discussion, with an emphasis on how these texts can help us think about our own project.
Discussion—I want to hear your insights and opinions on the books we read—and the book we write. Quality, not quantity is the key. The best way to prepare for the discussion is to read deeply (not skim in a rush) and to finish the homework well before class.
Homework—make sure all assigned work is completed in time for class. If you are unsure what your responsibilities are, check with Andy before you leave the class.
Lectures—At the beginning of class, I will give a weekly lecture on topics ranging from craft to my personal experience with the comics industry. Please feel free to take notes, doodle, or draw during these talks, and ask as many questions as you want, both during and afterwards. If you have any specific things you want to hear from me about, please reach out.
Early Projects—The course will begin with a series of one-page comic projects. These are meant to establish familiarity with the material we are working with, to generate content that might be of use to the final project, and to create accountability for finishing things. The last aspect is crucial–every assignment in this course is a step towards a completed, finished thing. We will hold each other accountable for finishing these things, and being open to our classmates reading and critiquing them.
Overall Project—The goal for the course is the group creation of a collection of intertwined nonfiction narratives. This process will include selecting and acquiring source material, adaptation workshops, story development, critiques, creating production schedules, project layout and assembly and printing process and coordination. The focus, form and content of the project will be achieved by group consensus, guided by the instructor.
Attendance is crucial; if you must miss a class or lab, I expect you will make arrangements with me beforehand. Come to class, come on time, and come prepared.
Technical issues—Please alert Andy immediately to any technical issues you encounter related to art (saving, scanning, etc.) or collaboration
Texts for Applied Comics Spring 2023:
A broad note on the reading list for the Nonfiction Comics Anthology Project: This class is structured around the reading, analysis and creation of nonfiction and as such deals with many texts that were created with the intent of bearing witness to trauma and injustice, from a personal, historical or journalistic perspective. These texts were intended by their creators to challenge and provoke their readers, but also to lift up marginalized voices, rather than revel in the brutality of their oppression.
March: Book One by John Lewis, Nate Powell & Andrew Ayden (EV, RA)
Wake by Rebecca Hall (EV, SA, SE)
Guantanamo Voices by Shay Mirk (EV, SA, RA)
The Fixer by Joe Sacco (EV, SE, RA, SH)
Citizen 13660 by Miné Okubo (RA)
Ducks by Kate Beaton (SE, AC)
- Instructor: Andy Warner