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Lecturer(s)
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Course content
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1. Introduction to the semester course, enter on semestral project, entering the first task in the comics category which will occur first in the text in the subject of screenwriting and dramaturgy. 2. Lecture on the illustration for the youngest children. Entering illustrations to rhymes (output will be to implement tightened with resolved book illustrations, typography and binding). 3. - 4. Work on the literary comics scenario and proofreading of illustrations rhymes. 5. - 6. Submitting the first task of entering and finished literary comic by the script. 7. - 8. Proofreading of unfinished comic. 9. Submission of comics and talk about authors and illustrators of fairy tales. Entering a classic illustration of narrated tales (output is a series of illustrations in the book without an application). 10. - 11. Illustrations proofreading for fairy tales. 12. Submission of the previous task and joint evaluation. 13. Discussion on semestral project, which is a solution of comic art and which literary scenario was created in hours of scriptwriting. In this semester, students expand their ability to capture the human figure in a range of motion and from different perspectives.
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Learning activities and teaching methods
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Lecture supplemented with a discussion, Project-based instruction, Instruction based on dialogue, Multimedia supported teaching, Students' portfolio, One-to-One tutorial, Skills demonstration, Seminar classes, Individual study, Seminar
- Contact hours
- 130 hours per semester
- Individual project (40)
- 60 hours per semester
- Graduate study programme term essay (40-50)
- 40 hours per semester
- Preparation for an examination (30-60)
- 45 hours per semester
- Presentation preparation (report) (1-10)
- 10 hours per semester
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| prerequisite |
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| Knowledge |
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| about a wide range of basic ways of capturing a human figure from different perspectives and a diverse range of movements, about the artistic formality of the comic genre and the compositional relationships of the picture material, the image and the fonts, about historical and contemporary style canons, about creative approaches in the search for proportions of the text and art of the comic book, designing comics scenarios with a respect to combining the function of comic and aesthetic expression, about mechanism of communication with the client to determine his/her requirements, about ways of critically assessing his/her own work in a discipline context, about the possibilities of full participation in the production team dealing with complex tasks, about ways to justify and defend your own design activity in relation to other members of the production team, about the appropriate forms of presentation and promotion of the comic project |
| Skills |
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| can capture the human figure from different perspectives and in a diverse range of movements, in collaboration with the scriptwriter and the director of the comic studio to create a simple comic book reflects his work in historical and contemporary contexts, reflects its work in the context of professional, technical and technological processes, with erudition, presents his work to the professional community is able to accept and use creatively the evaluating and critical responses, chooses the appropriate technology for producing the final artwork, submit his proposal and selection to the contracting authority and justify it in the respect to the task and his/her requirements, critically assesses his her own work in the field context and style framework, is able to accept and use creatively the critical and critical response, fully involved in the activities of the production team dealing with complex tasks, explains and defends his/her choice from other members of the production team , chooses the most appropriate variant of the final version of the comic project and creates a portfolio, chooses appropriate forms of presentation and promotion of comic project |
| Competences |
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| N/A |
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| learning outcomes |
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| Knowledge |
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| a wide range of interceptions of complex biomorphic bodies from different perspectives and in a diverse range of motions, on the artistic morphology of the comic genre and on the compositional relationships of the visual material, image and font, or other expressive means of expression, about historical and contemporary canons, the princes applicable to the creative process of finding the proportions of the textual and artistic components of the comic, designing the complexity of linear and non-linear comic scripts with regard to the interconnection of the comic function and aesthetic design, on the methods of communication with the client (target group) in order to determine its requirements and to predict the viability of an art project, on the ways of critical reflection of own work in the context of the field, the ways of managing a production team solving complex tasks, useful in justifying and defending their own design activity to other members of the production team, on appropriate forms of presentation and promotion of the comic book project in real and virtual exhibition environments, o designing innovations in technology and functionality of comic book projects in both classic and digital media, on possibilities and limits of involvement in interdisciplinary cooperation on comic book projects, about current trends in the art genre |
| Skills |
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| can capture complex imaginary and real objects from different perspectives and a variety of movements, brilliantly manages the transposition of the 3D world into 2D means of expression, independently create authorial comics with more complex linear and non-linear narrative, considers professional, ethical, ecological and general value aspects when choosing a topic; chooses the appropriate visual metaphorical representation with respect to the content to be communicated and the target audience, reflects its work in historical and contemporary context, reflects its work in the context of professional, technical and technological procedures, with erudition presents his work to the professional community and the wider public, is able to accept and use creative and critical response, choose the appropriate technology for the production of the final work, submits its proposal and selection to the contracting authority and substantiates it in the light of the terms of reference and the requirements identified, critically assesses his / her own work in a professional context and style framework, fully involved in the work of a production team solving complex tasks, justify and defend their choice before other production team members, selects the most appropriate variant of the final design of the comic book project and creates a portfolio for it, selects appropriate forms of presentation and promotion of the comic book project in both virtual and real exposure environments |
| Competences |
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| N/A |
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| teaching methods |
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| Knowledge |
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| Students' portfolio |
| One-to-One tutorial |
| Seminar classes |
| Skills |
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| Skills demonstration |
| Students' portfolio |
| Competences |
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| Discussion |
| assessment methods |
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| Knowledge |
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| Seminar work |
| Continuous assessment |
| Skills |
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| Skills demonstration during practicum |
| Project |
| Practical exam |
| Competences |
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| Seminar work |
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Recommended literature
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True stories. 2006.
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Bohatcová, Mirjam. Česká kniha v proměnách staletí. 1. vyd. Praha : Panorama, 1990. ISBN 80-7038-131-0.
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Brunetti, I. Anthology of Graphic Fiction, Cartoons, and True Stories.
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Gravett, Paul. Graphic Novels, Everything you need to knot.
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Holešovský F., Stehlíková B. Čeští ilustrátoři v současné knize pro děti a mládež. Praha, 1989.
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Holešovský, František. Glosy k vývoji české ilustrace pro děti. Praha : Albatros, 1982.
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Maděričová, Markéta. Komiks z hlediska výtvarného umění. Plzeň : Západočeská univerzita. Ústav umění a designu, 2005.
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