Mac McCool Master Class Artist Requirements
GRAPHIC NOVELS MASTER CLASS WITH MAC MCCOOL - ASSIGNMENTS FOR ARTISTS
You may think, “I’m an artist – I can’t write!” Don’t worry. I assure you that you can write well enough to complete the assignments for the class. We’re not looking for perfection, but for production. Most importantly, getting first-hand knowledge of what writers do will make you a better artist. So if your writing seems a bit shaky, relax, and have fun!
To fully participate in the class, please complete all five assignments.
Thanks,
Mac McCool
1. Reverse-Writing
Just as engineers reverse-engineer a product by taking it apart, type the graphic novel script that a writer would have given the artist to obtain the page below. Ask yourself, in addition to the dialogues and captions, what information and possible conventions you may communicate to the artist.
2. Sketching Breakdowns: Converting Text to a Rough Graphic Novel Page
Using the script below, draw two different one-page breakdowns. You may use four to eight panels for each page. Ask yourself what information the images can convey alone, and what information should appear as text on the page. Please, pencil in the text so we can read it and see where you place it on the page. Give each page a title to explain your approach.
The ocean was quiet. Not a wave on its surface. On the boat, the Captain stared out. His face looked determined and anxious. I remember thinking, “would this be the day?” as I watched him light his pipe.
Still nothing.
Suddenly, the Captain’s pipe dropped from his lips. A mass appeared underwater on the starboard side of the ship. “THERE!” he pointed.
FYI, here are sample breakdowns (a.k.a. “thumbnails” or “thumbnailed pages”):
Example 1, example 2, example 3, example 4, example 5, example 6, example 7
3. Writing Dialogues
You want to stand out in the graphic novel field? Write great dialogues to go along with great images.
To practice your dialogue skills, rewrite two separate versions of the classic dialogue (below) between Little Red Riding Hood and the Wolf. Personalize each character’s voice to your liking. What if the Wolf was from Brooklyn and Little Red Riding Hood from New Orleans? What if they had been brought up in a jungle, in a prep school, in a shoe, on a pirate ship? What rhythm distinguishes each speaker’s phrasing? What vocabulary do they possess? What body of references would they use for analogies and metaphors? Write and rewrite the dialogues until each voice sounds unique and natural.
Little Red Riding Hood took off her clothes and got into bed. She was greatly amazed to see how her grandmother looked in her nightclothes, and said to her, "Grandmother, what big arms you have!"
"All the better to hug you with, my dear."
"Grandmother, what big legs you have!"
"All the better to run with, my child."
"Grandmother, what big ears you have!"
"All the better to hear with, my child."
"Grandmother, what big eyes you have!"
"All the better to see with, my child."
"Grandmother, what big teeth you have got!"
"All the better to eat you up with." And, saying these words, this wicked wolf fell upon Little Red Riding Hood, and ate her all up.
Andrew Lang, The Blue Fairy Book (London, ca. 1889).
4. Building Characters
Draw the silhouette of a character of your creation. Make that silhouette as exciting as possible. To view the brilliance of famous silhouettes, consult this webpage.
5. One-Page Graphic Novel
Draw a graphic novel page of your creation. Dazzle us with your visual storytelling and graphic artistry.
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