The book takes cues from among other sources for inspiration, Ivan Brunetti’s “Cartooning: Philosophy and Practice,” Jorge Luis Borges, music, poems and cartoons.“Making Comics” allows a reader to practice with timed exercises and a few simple supplies, and it’s a text that could also be used by teachers. It's that same shame about this thing that's out of their control that seems to be coming from them.My task — and it can be done within 30 minutes — is to get them past that. That's one of the things I've seen when people instruct kids to draw. And again, based on assumptions that people who quit drawing a long time ago make up about drawing.That you know what you're going to draw before you draw.
Sometimes that even applies to 4-year-olds that I work with.Via language, the only thing 4-year-olds can't do is write rapidly. ...When I'm making a comic, the drawing itself has a huge part in what happens with the [story]. In this collection of exercises, Barry outlines how she encourages creativity among confident and even first-time students in drawing their own comics.
And that horror they have is the same horror they might have if a bodily fluid was suddenly released, like suddenly they got a bloody nose or started drooling. And so, what happens at about the age of 5, when people enter the school system, is that drawing and writing become split. Images courtesy of Drawn & Quarterly You don't want to waste paper. In this collection of exercises, Barry outlines how she encourages creativity among confident and even first-time students in drawing their own comics. Cartoonist Lynda Barry Helps College Students Tap Innate Creativity. I guess what I mean by that would be that they're able to do stuff in a way that I can't track back to how they were able to do that thing. The time limits also echo Brunetti’s idea that unexpected and exciting lines come from working quickly.As the semester closes toward the book’s 200-page mark, you see how there can be further generative work with various bags, including a “word bag,” a “picture bag” and a “scene bag,” but Barry also discusses copying other drawings, keeping the pen moving in quick, timed flashes, and not throwing away drawings that can be revisited for inspiration later.
Hillary Chute, Artforum Lynda Barry [is] one of the greatest visual artists of our time.
I've really learned to follow that — to follow what my hand is doing.One of the things you'll hear people say, when they tell me they wish they could draw, is, "I see it in my head, but I can't get it onto the page." Even to the point, you know, where we start looking at books that have more words than pictures.Their drawings seem to come from the movement of their hands, rather than an intention. But [with] that expression of anger on their face, the story takes a different tack that I didn't expect.
Images courtesy of Drawn & Quarterly hide caption The easiest way to do that is to have them close their eyes and draw. Drawing is something that has to come out of your body. They start by telling them how important the paper is. If done within the short time limits that Barry suggests, it’s easy to see how these exercises emulate freewriting, or possibly free-imaging, since she suggests that images are the first language that we learn as children.
I mean, you can crack yourself up with an index card and a letter pen. ... That's not how drawing works at all.
So I kept getting these calls.
... [Making Comics is] full of drawing exercises that help you access your creativity and silence your inner critic." And then I just turned off my phone because I was really irritated — "Who keeps trying to call me?" It's always a surprise to see whom the MacArthur Foundation selects to receive its annual fellowships — the six-figure awards known as Genius Grants — but one of But in my case, I hardly ever use the phone. Images courtesy of Drawn & Quarterly ... That's why I think that when kids [are] tested — to see if they're smart enough to go to some cool kindergarten or whatever — and they'll tell kids to do things like draw a circle, draw a triangle ... those ways of testing kids' aptitude are sort of false. So now the character looks angry. So, you want to sit and think carefully about what it is you're going to draw before you draw it.
Say I'm drawing a character, and I think maybe they're surprised. You can transform the way that you feel about something. Lynda Barry says young artists follow the movements of their own hands rather than setting an intention for a drawing. -- NPR "Barry is pushing the envelope on understanding how the brain creates and responds to words and pictures -- a scholarly envelope that, in her mind, should be positively covered with illuminating doodles."
The trick is to show them that there's another kind of drawing that is very different than representational drawing.Sometimes the drawing that's left over is not as important as the fact that it can transform your mood.
I'm sure there is some kind of drawing that works that way, but mostly it doesn't. And then I have to remind them that what they're seeing in their head is not a drawing.
You know, it's like the term "fresh bread," right? It could mean anything. And when I go to draw their eyebrow, maybe my pen slips a little and it points down instead of up. That's when there's some idea that those two things need to be moved away from each other. Awarded a 2019 MacArthur Genius Grant "Eternally wise and strange." Books, poetry, comics and the literary world of ChicagoShortly after the announcement of her MacArthur Fellowship (or “genius” grant), Lynda Barry released her latest graphic book, “Making Comics,” which encourages immersion in creativity.
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