| imc2015_schedule__final.pdf |
BELOW:
Group 1 assignments by Irene Gallo (and a comics sample assignment from Marc Chairello for Batman pages)
Group 2 assignments by Irene Gallo
Group 3 options
Group 1 assignments by Irene Gallo (and a comics sample assignment from Marc Chairello for Batman pages)
Group 2 assignments by Irene Gallo
Group 3 options
Group 1&2:
*Spec scripts attached below are NDA and REAL for TOR do not post them or share them!
Come to class with 1-4 concept sketches for the crit wall on day one. ALSO bring a print out or promo postcard of your best work to date to post on the wall for the teachers to consider while doing your crit, and one primary artistic influence that best describes your future goals( if you are not yet totally clear on them yourself!)
If you are in group 1 and want to do the Batman Sample pages for review by Marc Chiarello please also not that these pages can be used in a editorial reviews in your porfolio but cannot be published as they are also help in copyright by DC comics.
**Also-just a note- there are 8 pages in the script-if you're seriously considering being a penciller and want to impress Mark Chiarello, I would suggest doing 6-8 finished pencilled pages by the end of the week.the average comics penciller has to be able to pencil24 pages every single month and it the ground running( Ive been there as the penciller of several monthy books in the early 90's!).
Come to class with clean breakdowns on comics size pages.If you don't already know what "pencilling" a page means, or don't know what "comics format pages" are then you may not want to choose this option. If you want to tackle 3- 4 or the 8 painted page spreads for consideration of painted comics-then i suggest to come to day one with pencilled pages ready for crit and painting during the week. Comics is NOT for the faint of heart!
The IMC facebook Student Network is super helpful if you have other questions for past students!
Group 1 and 2 topics from Irene Gallo:
- Updraft: SF with fantasy feel and YA crossover
- Alice in Wonderland: straight or genre-bent
- Ranger Comes to Town: High fantasy
- The Builders: Grim-dark fantasy with anthropomorphized animals (Think Omar Rayyann meets Game of Thrones.)
- Every Heart a Doorway: Present-day Fantasy (Kind of Gaiman-ish.)
- Damage: Hard SF
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UPDRAFT:
Synospis
Welcome to a world of wind and bone, songs and silence, betrayal and courage.
Kirit Densira cannot wait to pass her wingtest and begin flying as a trader by her mother’s side, being in service to her beloved home tower and exploring the skies beyond. When Kirit inadvertently breaks Tower Law, the city’s secretive governing body, the Singers, demand she become one of them instead. In an attempt to save her family from greater censure, Kirit must give up her dreams to throw herself into the dangerous training at the Spire, the tallest, forbidding tower at the heart of the City.
As she grows in knowledge and power, she starts to uncover the depths of Spire secrets. Kirit begins to doubt her world and its unassailable Laws, setting in motion a chain of events that will lead to haunting choice, and may well change the city forever—if it isn’t destroyed outright.
Scene: The lead character, Kirit Densira, with her wings, in the spire city — either flying or about to fly.
The city laid out on the cover, a bunch of various sized intricate bone towers with balconies and sometimes rope-ish woven ladders between levels, with views of people flying with wings in the background (see attached pictures of wings—description: The wings are silk and batten, NOT feathered - more on the lines of Da-Vinci wings / modern wingsuits - there is a footsling/tail-skirt). The towers are loosely gathered (spreading out across a whole country) around one tall, completely smooth tower called The Spire:
From the manuscript:
"We passed the farthest towers I've been to, out of the northwest quadrant. I quieted as I realized the names of the towers I'd studied all my life went with shapes, twists of bone rising from the clouds just as Densira did.
Hereand there, bridges spanned the gaps between towers. As we flew closer to the Spire, more towers were connected by the long spans of sinew. Everywhere, ladders grappled tiers. On balconies and tower tops, families stood and waved. Densira families were doing the same for children of distant towers, welcoming them to the rest of the city.
I removed my lenses to clean them and looked out from Varu, to its neighbors. I saw the Spire clearly for the first time, rising from the city center. I'd studied it for the wingtest, but had never been so close.
Taller than the rest of the city's towers, the Spire differed in other ways as well. Where our tiers rose supported by a central core, a solid wall of white bone wrapped the Spire. Ezarit told me once that the Spire's center was a wind-filled abyss. The Spire's market-bridges, designed by artifexes like Nat's father, hung suspended on pulleys in a ring around its wall. Behind the wall, the Spire held the Singers' secrets close.”
Lead Character:
Kirit, a young woman of darker olive coloring, curly brown hair escaping tight braids. She wears light brown silk and quilted flying robes, Under-robes are thinner and loser-seamed. The wingstraps cinch over the shoulders and can also cinch across the chest.
Setting / more on the city
Each tower – excepting the Spire and Lith – grows plate-by-plate from a central core, like some kinds of horn. There is a slight horizontal twist from tier to tier, and the levels (tiers) have slight variations in their organic edges, as well as naturally occurring bone spur dividers that separate the spaces somewhat into living quarters and provide support beyond the central core. As the central core expands (which it does the further down one goes), the towers’ livable space is reduced, and eventually, very far down, the towers have grown together. Beyond the city is open air in every direction as far as an adult can safely fly. Below is an impenetrable wall of clouds that even the city’s Singers fear.
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Alice in Wonderland
Cover or interior piece.
Feel free to do it as a straight illustration for the YA classic or to genre-bend it. You can re-set the story in a scifi universe, western, noir, etc. You can even use the settings and relationships loosely to inspire your own story telling. If you are not playing it straight, please feel free to explore the race or culture of the characters beyond Victorian English society.
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Ranger Comes to Town
Cover
High fantasy setting of your choice.
A ranger, man or woman, coming to a fantasy town with a horse. Think about details of the town to give it culture and lived-in look. Things as simple as a few birds in the background can make an image look more authentic and less like an empty set. Although you can use a European medieval setting, please feel free to explore the race and cultures, real or imagined, beyond that.
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The Builders
Cover or interior
Story Attached.
Please do not share the story file with anyone outside of the IMC. It is not yet on sale and is the intellectual property of the author.
Grim dark fantasy but all the characters are anthropomorphized forest creatures. This can be a action sequence or a “band of brothers” style collection of a few of the main characters.
Catalog copy:
A missing eye.
A broken wing.
A stolen country.
The last job didn't end well.
Years go by, and scars fade, but memories only fester. For the animals of the Captain's company, survival has meant keeping a low
profile, building a new life, and trying to forget the war they lost. But now the Captain's whiskers are twitching at the idea of evening the Score.
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Every Heart a Doorway
Cover or interior
Story Attached
Please do not share the story file with anyone outside of the IMC. It is not yet on sale and is the intellectual property of the author.
Contemporary fantasy in the style of Neil Gaiman or Lev Grossman.
The lead character, Nancy, is a high-school girl that suddenly appeared in the underworld one day via an inexplicable doorway. (Like the kids from Narnia or Alice in Wonderland.) The story follows her, and kids like her, once they are back home and forced to readjust to the mundane world.
Catalog copy:
Children have always disappeared under the right conditions; slipping through the shadows under a bed or at the back of a
wardrobe, tumbling down rabbit holes and into old wells, and emerging somewhere... Else.
But magical lands have little need for used-up miracle children.
Nancy tumbled once, but now she's back. The things she’s experienced... they change a person. The children under Miss
West's care understand all too well. And each of them is seeking a way back to their own fantasy world.
But Nancy's arrival marks a change at the Home. There's a darkness just around each corner, and when tragedy strikes, it's up to Nancy and her new-found schoolmates to get to the heart of the matter.
No matter the cost.
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Damage
Cover or interior
Short story attached
Hard SF
This story centers around a fighter pilot on one last desperate mission, as told from the point of view of his sentient spaceship. Try to include the pilot — it can be the pilot in front of, or climbing into, the ship or the pilot in the cockpit.
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Batman Script:ALL attached is NDA do not publish!
| batman-bw-script.doc |
Group 3 Options:
As you all know the Focus Group 3 with be working specifically on gallery and personally driven work.
What you choose to paint while you are here should come for a deeply personal place- and make that very emotional connection with your audience.
We also realize that it is sometimes hard to create in a complete vacuum and with that in mind we want to offer some ideas to consider.
You may consider them as completely open ended concepts to explore- OR choose to think of them as topics on a group show that you’ve been invited to.
You can also bring a concept you are working on already NOT related to the topics- but be prepared to discuss it and have it in a sketch stage that can be workshopped with the class and the faculty( please do not bring a painting that is 2/3rd complete as your only project for the week).
We would like to see sketches of initial ideas for the critique wall on day one- as well as any references you’ve assembled and one printout of your best piece to date for the crit wall so we can see where you are at.
Be prepared to also discuss who your artistic influences are within the GALLERY world- and what direction you most want to head in( i.e. Pop-Surreal, Street Art,Contemporary Figurative etc…)
If you do NOT yet know where you fit then that is something we will discuss during day one( and the week) with you based upon the work you are currently doing and the influences you have.
Below are our topics -you may do 1-4 sketches/thumbnails for the crit wall ,( on either one topic or more, or your own idea)- and we will choose the strongest one together in class to critique/pursue for the week.
Be prepared to reshoot reference AT the IMC if needed( we have a selection of lights -but if you have specific costumes or clothing in mind DO bring it ).
Again, think of these a general starting points of inspiration OR “Group Show” concepts.
Deliverance
The Edge of Darkness
Light of Nature
Raw Romance
OR your own personally themed piece
As you all know the Focus Group 3 with be working specifically on gallery and personally driven work.
What you choose to paint while you are here should come for a deeply personal place- and make that very emotional connection with your audience.
We also realize that it is sometimes hard to create in a complete vacuum and with that in mind we want to offer some ideas to consider.
You may consider them as completely open ended concepts to explore- OR choose to think of them as topics on a group show that you’ve been invited to.
You can also bring a concept you are working on already NOT related to the topics- but be prepared to discuss it and have it in a sketch stage that can be workshopped with the class and the faculty( please do not bring a painting that is 2/3rd complete as your only project for the week).
We would like to see sketches of initial ideas for the critique wall on day one- as well as any references you’ve assembled and one printout of your best piece to date for the crit wall so we can see where you are at.
Be prepared to also discuss who your artistic influences are within the GALLERY world- and what direction you most want to head in( i.e. Pop-Surreal, Street Art,Contemporary Figurative etc…)
If you do NOT yet know where you fit then that is something we will discuss during day one( and the week) with you based upon the work you are currently doing and the influences you have.
Below are our topics -you may do 1-4 sketches/thumbnails for the crit wall ,( on either one topic or more, or your own idea)- and we will choose the strongest one together in class to critique/pursue for the week.
Be prepared to reshoot reference AT the IMC if needed( we have a selection of lights -but if you have specific costumes or clothing in mind DO bring it ).
Again, think of these a general starting points of inspiration OR “Group Show” concepts.
Deliverance
The Edge of Darkness
Light of Nature
Raw Romance
OR your own personally themed piece