Do you want to go to France this summer and be in a writing workshop taught by Dan Chaon and Lynda Barry? They’ve been working together to develop a way of teaching writing that is a BLAST! Lynda Barry says:
"This class is about a kind of writing you may not know you’re good at. It has a lot in common with making visual art. It’s based on seeing, but it’s the mind’s eye kind. The kind that happens during a flood of memory; unwilled, vivid, easily described. A place you’re suddenly ‘in’.
We’ll use handwriting, simple drawings, unexpected imagery and a specific way of keeping a notebook to help us write both fiction and autobiographical stories and to track and identify the images that keep coming up in our work, a kind of writing that helps notice how and when these images show up in our day-to-day lives, gives us an understanding of our history with them and just where they may be trying to take us.
Becoming accustomed to a kind of spontaneous image-based writing can help us tremendously in writing both autobiography and fiction along with other writing tasks like artist statements, response papers, project descriptions, reports, reviews, etc. All you’ll need is a pen, a composition notebook, a pile of candy, and your two bare hands.”
She also says: “I love LOVE teaching with Dan Chaon. He is a genius writer and a genius teacher.”
Extra Credit: In your comp book, first draw a frame, then draw this being in non-photo blue, then ink with uniball or brush or both. Then paint the background jet black with sumi ink, let it dry completely then put another jet black ink layer over it. You can use a blow dryer! It will really help.
Mahakala is one of the most important fierce protectors of Mongolian Buddhism. Like a number of the other masks displayed here, he is crowed with a diadem of five skulls. His wrathful character is heightened by the snake that winds around his topknot and by his three angrily bulging eyes.
ROCKY AND BULLWINKLE. “TV Radio Mirror,” January, 1962.
Dear Making Comics Class,
For extra credit, draw any of these character individually. Each on should have their own compbook page and you should start by drawing a frame. Drawing a frame makes a landing pad for your images.
Some of the characters are obscured. Feel free to make up what might be there if we had a clear view.
Set a timer: two minutes using non-photo blue to get the general shape and detail, then spend as long as you like inking. For a side trip down memory lane, go ahead and use a Flair pen. For a trip into the futuremobile use sumi ink and a brush to ink the non-photo blue images in. Don’t be afraid if they come out rough. Sometimes the rough drawings are the very best, even if we were so panicked while making them we had no idea what we were doing.
One of the things we’ve been doing in class is noticing how adding words activates and changes visual images. Here’s a quick example of that very thing. Is this a comic? In a way, it is! Thank you to Scrounge for bringing this video to our attention.
Source: HiRISE Catalog which contains over 11,700 images of Mars surface features.
The above image was taken in 2008 April near the North Pole of Mars. At that time, dark sand on the interior of Martian sand dunes became more and more visible as the spring Sun melted the lighter carbon dioxide ice.
When occurring near the top of a dune, dark sand may cascade down the dune leaving dark surface streaks — streaks that might appear at first to be trees standing in front of the lighter regions, but cast no shadows.
Objects about 25 centimeters across are resolved on this image spanning about one kilometer. Close ups of some parts of this image show billowing plumes indicating that the sand slides were occurring even when the image was being taken.
For Extra Credit, watch this with the sound turned off and with the sound turned on.
What is the difference?
How is music able to affect the way we see a video, able to affect what we notice and give meaning to? Some how music is able shape our pace and our experience of what we are watching. We seem to make whatever we are looking at ‘go along with’ the music we are listening to. But HOW? And Why?
For speaking engagements or for workshop teaching requests for Lynda Barry, please contact: Steven Barclay
Steven Barclay Agency
12 Western Avenue
Petaluma, CA 94952
For literary inquiries or permissions contact
Upcoming Lynda Barry Writing workshops :
University of Wisconsin-Madison, first
Saturday of every month, a two-hour workshop, free and open to the public, registration required.
Link to more information: http://wid.wisc.edu/events/workshops-for-educators-with-lynda-barry-writing-the-unthinkable/
The Omega Institute, Rhinebeck New York
Writing the Unthinkable
July 20-25th 2014
Link to more information: http://www.eomega.org/
Chamonix Summer Writing Program, Chamonix, France
May 17 through June 28 2014
Link to more information http://blogs.butler.edu/chamonix/