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Write a short story about your ink blob!

Write a few sentences describing a story your ink blob is featured in! Think creatively! Please submit your story in response to this posting. (Note: this activity is very broad, look to other activities if you are struggling with ideas!)

Here is a link for further guidance about writing a short story: https://literacyideas.com/how-to-write-a-short-story/

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Short Story Writing for Students and Teachers: A Complete Guide

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A complete guide to Short Story Writing for students and teachers on how to write a great short story with an engaging plot, fabulous setting and interesting characters. Improve your teaching strategies and writing skills in writing a short story.

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Write a poem about your ink blob!

Write a short poem relating to your ink blob creation. Please submit your story in response to this posting.

Here is a link for further guidance about writing a poem: https://www.grammarly.com/blog/how-to-write-a-poem/

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How to Write a Poem: A Step-by-Step Guide | Grammarly Blog

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Poetry is . . . song lyrics without the music? Writing that rhymes? A bunch of comparisons and abstract imagery that feels like a code for the reader to decipher?

The answer to all of the above is yes, but poetry encompasses much more. Poetry is a broad literary category that covers everything from bawdy limericks to unforgettable song lyrics to the sentimental couplets inside greeting cards. Poetry's lack of rules can make it feel hard to define but is also what makes poetry enjoyable for so many to write.

If you've ever wondered how to write a poem, read on. Writing poetry doesn't have to be daunting-we're going to demystify the process and walk you through it, one step at a time.

What is a poem?

A poem is a singular piece of poetry.

Poems don't have to rhyme; they don't have to fit any specific format; and they don't have to use any specific vocabulary or be about any specific topic. But here's what they do have to do: use words artistically by employing figurative language . With a poem, the form is as important as the function-perhaps even more so.

In contrast, prose is writing that follows the standard sentence and structure. Prose, while it takes many different forms and tones, largely mimics human speech patterns.

The purpose of a poem

Poetry expresses emotions and conveys ideas, but that's not all it can do. Poets tell stories, teach lessons, and even communicate hidden messages through poetry. When you listen to music with lyrics, you're listening to poetry.

Show, don't tell. The goal is to provoke an emotion in the reader.

Less can be more. While it's perfectly acceptable to write long, flowery verse, using simple, concise language is also powerful. Word choice and poem length are up to you.

It's OK to break grammatical rules when doing so helps you express yourself.

Elements of poetry

The key elements that distinguish poetry from other kinds of literature include sound, rhythm, rhyme, and format. The first three of these are apparent when you hear poetry read aloud. The last is most obvious when you read poetry.

In many cases, poetry is most impactful when it's listened to rather than read. With this in mind, poets often create sound, whether to be pleasing, jarring, or simply highlight key phrases or images through words. Read this short poem "The Cold Wind Blows" by Kelly Roper aloud and listen to the sounds the letters and words make:
Who knows why the cold wind blows Or where it goes, or what it knows. It only flows in passionate throes Until it finally slows and settles in repose.
Poetry has rhythm. That's what often makes it so attractive to set to music.

A poem's rhythmic structure is known as its meter. Meter refers to:

The number of syllables in each line

The stressed and unstressed syllables in each line

These syllables are grouped together to form feet, units that make up a line of poetry. A foot is generally two or three syllables, and each combination of two or three stressed and unstressed syllables has a unique name.

You probably recognize the term iambic pentameter from English class. It comes up a lot in high school English classes because Shakespeare wrote in it frequently, and Shakespeare is frequently read in high school English classes. An iamb is a two-syllable foot where the second syllable is stressed: duh-DUH. Pentameter means that each line in the poem has five feet or ten total syllables.

Iambic pentameter is just one of the many kinds of rhythm a poem can have . Other types of feet include the trochee, two syllables where the first syllable is stressed (DUH-duh), and dactyl, three syllables where only the first is stressed (DUH-duh-duh). When a poem only has one foot per line, it's in monometer; when there are two feet per line, it's in dimeter; and so on.

Stressed and unstressed syllables aren't the only way you can create rhythm in your poetry. Another technique poets frequently embrace is repetition. Repetition underscores the words being repeated, which could be a phrase or a single word. In her poem "Still I Rise", Maya Angelou repeats the phrase "I rise" with increasing frequency as the poem progresses, changing it from "I'll rise" in the first stanzas to a repeated "I rise" toward the ending, to emphasize her unbreakable spirit:
Leaving behind nights of terror and fear I rise Into a daybreak that's wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.
With poetry, rhythm and rhyme go hand in hand. Both create musicality in the poem, making it pleasurable to recite and listen to.

Rhymes can appear anywhere in a poem, not just at the ends of alternating lines. Take a look at all the places Lewis Carrol uses rhymes in this excerpt from "Jabberwocky":
One, two! One, two! And through and through The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back.
When you're reading poetry, one of the first things you'll likely notice is its formatting. Simply put, poems just formatted the same way as prose. Sentences end in weird places, there are blank lines between the different sections, one word might have a line all to itself, or the words might be arranged in a shape that makes a picture on the page.

One of poetry's defining characteristics is that it doesn't adhere to the same formatting that prose does. You (most likely) won't find sentences and paragraphs in poetry. Instead, you'll find stanzas, lines, and line breaks.

A stanza is the poetic equivalent of a paragraph. It's a group of lines that (usually) adheres to a specific rhyme or rhythm pattern. For example, a quatrain is a four-line stanza in which the second and fourth lines rhyme. An isometric stanza is a stanza of any length where each line has the same meter.

Literary devices

Literary devices aren't limited to prose-many, perhaps even most, poems incorporate one or more literary devices. Literary devices commonly found in poetry include:

Often, poets use literary devices in conjunction with other poetic elements. One famous example of a poem that layers multiple literary devices is Margaret Atwood's "[you fit into me]":
you fit into me like a hook into an eye a fish hook an open eye
Types of poetic forms

There are many different types of poems. Some have very strict style rules, while others are classified according to the topics they cover rather than their structure. When you're writing poetry, keep the form you're writing in mind as you brainstorm-with forms that involve rhyming or require a specific number of syllables, you'll probably want to jot down a list of go-to words that fit into your chosen format before you start writing.

A haiku is a three-line poem that always fits this format: The first and third lines contain five syllables and the second line contains seven syllables.

A limerick is a five-line poem that follows a strict AABBA rhyme scheme. Though they often discuss humorous subjects, this isn't a requirement-the only requirement is that it fits this precise rhyme pattern.

A sonnet is a fourteen-line poem that was often used by Shakespeare and Petrarch. Although a sonnet's exact rhyme scheme varies from poem to poem, each sonnet has kind of consistent rhyme pattern.

Here's a tip: Grammarly's Citation Generator ensures your essays have flawless citations and no plagiarism. Try it for citing sonnets in Chicago , MLA , and APA styles.

Blank verse

Blank verse poetry is written in a specific meter that, as a rule, does not rhyme. Although this specific meter is often iambic pentameter, that isn't a requirement for blank verse poetry-the only requirements are that it does not stray from its meter (whichever meter the poet chose) and that it doesn't rhyme.

With free verse, anything goes. When you read a poem that doesn't appear to fit any specific format, you're reading free verse poetry.

An ode is a poem that celebrates a person, an event, or even an object. An ode uses vivid language to describe its subject.

Elegies are poems that, like odes, pay tribute to specific subjects. However, rather than being purely celebratory, an elegy is generally a reflection on its subject's death and includes themes of mourning and loss.

How to write a poem

Poetry isn't prose, as we explained above. And that's what makes it feel like the wildcard of creative writing.

Of course, you might find that following the writing process helps you explore and organize your thoughts before you start to write. The usefulness of starting with brainstorming, then moving onto outlining, then starting to write only once you've got an outline varies from poet to poet and even poem to poem. Sometimes, inspiration strikes and the words just start flowing out of your mind and onto the page.

Here are a few tips to help you get started and write your next poem:

1 Decide what you want to write about

Unless you've been assigned to write a poem about a specific topic, the first step in writing a poem is determining a topic to write about. Look for inspiration around you, perhaps in nature, your community, current events, or the people in your life. Take notes on how different things make you feel and what they drive you to think about.

Freewriting can be a helpful exercise when you're searching for the perfect topic to write a poem about. You can use a writing prompt as a jumping-off point for your freewriting or just jot down a word (or a few) and see where your mind guides your pen, stream-of-consciousness style.

Once you have a topic and a theme in mind, the next step is to determine which kind of poem is the best way to express it.

2 Determine the best format for your topic

Your poem doesn't have to adhere to any specific format, but choosing a format and sticking to it might be the way to go. By opting to write in a particular format, like a sonnet or a limerick, for example, you constrain your writing and force yourself to find a way to creatively express your theme while fitting that format's constraints.

3 Explore words, rhymes, and rhythm

Now it's time to write! Whether you opt for using a pen and paper, typing on a laptop, or tapping on your phone, give yourself some uninterrupted time to focus on writing the poem.

Don't expect to write something perfect on the first try. Instead, focus on getting your words out. Even if your lines don't rhyme perfectly or you've got too many or too few syllables to fit the format you chose, write what's on your mind. The theme your words are expressing is more important than the specific words themselves, and you can always revise your poem later.

5 Edit what you've written

Once you have a draft, the next step is to edit your poem. You don't have to jump right from writing to editing-in fact, it's better if you don't. Give yourself a break. Then in a day or two, come back to your poem with a critical eye. By that, we mean read it again, taking note of any spots where you can replace a word with a stronger one, tighten your rhythm, make your imagery more vivid, or even remove words or stanzas that aren't adding anything to the poem. When you do this, you might realize that the poem would work better in another form or that your poem would be stronger if it rhymed . . . or if it didn't.

Reading your poem aloud can help you edit it more effectively because when you listen to it, you'll hear the poem's rhythm and quickly notice any spots where the rhythm doesn't quite work. This can help you move words around or even completely restructure the poem.

If you're comfortable sharing your poetry with others, have somebody else read your poem and give you feedback on ways you can improve it. You might even want to join a writing group, online or off, where you can workshop your poetry with other writers. Often, other people can spot strengths and weaknesses in your work that you might not have noticed because your perspective is too close to the poem. A more distanced perspective, as well as perspectives from readers and writers of different backgrounds, can offer up ways to make your writing stronger that you hadn't considered before.

Give your writing extra spark

When you're writing poetry, you're allowed to break the rules. In fact, you're encouraged to break the rules. Breaking the rules artistically is one of the key differences between writing poetry and writing prose.

But making mistakes isn't the same as breaking the rules. Mistakes in your poetry, like misspelled words and incorrect punctuation, can distract readers from what you're communicating through your words. That's where Grammarly comes in. Grammarly catches any mistakes or tone inconsistencies in your work and suggests ways you can make your writing stronger. The outcome: writing with confidence and getting better at breaking the rules

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How to Write a Poem: A Step-by-Step Guide

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We demystify how to write a poem, with a helpful guide to incorporating literary devices, rhyme scheme, and more techniques for crafting any type of poetry.

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Writing prompt: Which of Stefan Bucher's Ink Monsters is you favorite?

Look at Bucher's website here: https://www.dailymonster.ink

Then, select a piece you enjoy and explain why you enjoy it in a few sentences. Please submit your story in response to this posting.

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Create a new watercolor blob artwork! Write a response comparing the watercolor blob artwork and the ink blob artwork you created.

Respond to this posting with a few sentences.

Reference artist, Marie-Lee Singoorie-Trempe's work to see how she uses watercolor to make blob art.m https://pinnguaq.com/learn/blob-art-challenge/

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In this tutorial, you will learn about the differences between vector graphics and raster graphics (also called bitmap graphics or pixel graphics) and how they are used in Scratch as well as how to use Inkscape to make vector-based art for use in Scratch.

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The Blob-Art Challenge is a fun way to create unique characters and works of art from your imagination!

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Create a best friend for your ink blob! Then, write a short story about how the two friends met.

Write a few sentences about how the two ink blobs became friends I response to this posting.

For further guidance you can create a story board to help you process your ideas: https://design.tutsplus.com/articles/how-to-storyboard-basic-guides-for-aspiring-artists--cms-30962

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What You'll Be Creating

Have you ever what wondered what kind of planning goes into making commercials, short films, or animations? Well, for starters, the backbone of any of these projects is a storyboard or a storyboard artist.

Storyboard artists are individuals who take a script/concept and turn it into a visual story.

If you want to become a storyboard artist on any type of production set, whether it's a freelance job, personal project, TV show, commercial, or music video, there are some guidelines you need to follow in order to get the storyboards created.

Contrary to what many might think, you don't need to be a great artist to illustrate a storyboard, although of course it's a bonus. Generally, all that is really required is an understanding of the basic techniques and principles of storyboard art. Your role is to be able to communicate the vision and concept as accurately as possible.

If you want to learn how to be a storyboard artist, this is the tutorial for you. Along the way, you will learn what essential skills you need to get you motivated and started in the creative field and art of storyboarding.

Let's get you started!!

1. Introduction to Storyboarding

1.1 What Is a Storyboard?

Storyboarding is the practice of producing storyboard sketches for a script/concept. It is an essential part of the preproduction process of any animation.

It's a sequence of hand-drawn sketches or visual images that are supported by script notes or dialogue and placed in a sequence, for the viewer to visualise an animation before production.

Each shot in a storyboard represents a type of camera shot, angle, action, or special effect, to effectively tell a story.

1.2 What Is a Storyboard Used For?

Storyboarding helps the production team envision and develop an idea, visualise and test out concepts, and highlight any potential obstacles with the structure or layout of a story before it heads into production.

What is a storyboard and why do you need one?

1. It is a step-by-step guide to the production process, so it helps manage timing in production, and it saves money.

2. Builds a connection with the viewer and between the production teams on a project, so all can communicate from one source of reference.

3. Helps communicate a vision and understanding of the story.

4. Helps in production direction.

5. Most importantly, it's used to sell/pitch the idea to clients to get funding in!

1.3 Who Directs & Lays Out the Storyboard?

Depending on the type of shoot or budget, the director might sit down with the storyboard artist to present their vision and place their input in the storyboard process. However, in most cases the budget isn't available, and you will need to break down the scenes and rely on your own experience to direct the shots as you see fit.

The key to storyboarding is to practice, by understanding how moving productions work.

Watch plenty of movies, TV series or commercials, and try to study by sketching out the scenes as you watch.

Look for camera angles and how a story is cut up and told visually.

Keep in mind that storyboards are not a frame-by-frame breakdown, but more a scene-by-scene development, and each scene must serve a purpose in the storytelling.

2. Storyboard Lingo & Techniques

Now, let's learn some essential lingo to get you started on the right foot and familiarise you with the terms used in the industry. The following list will give you some up-front information.

2.1 What Are Film Aspect Ratios?

As you know, storyboards showcase a series of images, of what the audience will see on screen. These are shown in formats called a Storyboard Panel or Storyboard Frame, which is basically a rectangular box presented digitally or on paper.

The size and shape of the panels are different, depending on what is called the Aspect Ratio (the relationship between the width & height of your video). The most common aspect ratios are 4:3 and 16:9.

Note that the dimensions of your panels should be the same as the aspect ratio the animation will be at the end.

2.2 What Are Different Types of Camera Shots?

There are some different types of camera shots that you should know before starting. We will go over just the basic shots. Note that most shots are named in connection with the subject framed in the panel.

Establishing Shot (ES) is usually shown at the beginning of a scene to present where the action is taking place-for example, an island, a school, a basement, etc.

Close Up (CU) shots, are obviously close-range views. They're often used in emotional scenes to show reactions or create intimacy. They can also increase tension, allow close views of characters or products, or accentuate an action.

Extreme Close Up (ECU or XCU) shots are sparingly used, usually when you need to add drama or focus to an event or scene, or represent some aggression or discomfort.

Mid Shot (MS) or Medium Shot is a frame from the character's waist and up. Typically used to show emotions and reactions, or during dialogue sequences.

Medium Close Up (MCU) is what is sometimes called a Head & Shoulders. It's basically a head shot from shoulder up, used to focus on a character's expressions or during dialogue scenes between two or three people.

Long Shot (LS), also known as Full Shot, is a shot taken from a distance. It's typically used to show the entire character or subject, and when you want to point something out between the subject and its surroundings or release tension in a scene. It's like giving breathing space to an event/action.

Medium Long Shot (MLS) frames the subject from the knees and up. It's a mix between a long shot and a medium shot and is usually used when there are a group of people in a frame or you wish to show the subject's hands and expressions.

Extreme Long Shot (ELS or XLS) is more long range and is used to establish the surrounding setting.

2.3 What Are the Basic Camera Angles?

A Camera Angle refers to where the camera is shooting from. When storyboarding, always imagine yourself holding the camera, and ask yourself what's the best way to portray the action or subject in a scene. Do that by establishing the most effective way to place the camera angle:

Point of View (POV) camera angles are used when you want the viewer to understand what the character is seeing. The view can be close, mid, or long.

Over the Shoulder Shot (OSS or OTS or also known as 'Third-Person) is a view from behind an individual and towards a subject. It's typically used between people in conversation, and the frame has one person/thing on the side of the frame.

Two-Shot is an angle where two subjects are both in a single frame together, and usually speaking. When drawing dialogue frames, alternate between two-shots and OTS shots.

Up Shot / Worm's Eye View are angles that look up at a subject/object.

Down Shots / Bird's Eye View are angles that look down at a subject/object.

2.4 What Are the Standard Camera Movements?

Next, let's familiarise ourselves with the following list of camera motions:

Pan/Tilt. Pan is short for Panorama Shot. The camera is on a tripod, and moves right or left. A Tilt is when you move up or down.

Zoom In or Out is when you adjust the lens to view in or out, and is used to increase the significance of something. Draw arrows from the edge of the panel inwards/outwards.

Dolly is similar to a Zoom, but the entire camera moves towards a subject or away from it. Use thick arrows to show this motion.

Truck In & Truck Out is similar to dolly, but the whole camera moves left to right or vice versa.

Pan or Panning are when the camera rotates sideways in one direction, often used in dialogue scenes or when following a subject or revealing something near. When storyboarding, draw an arrow in the camera's direction.

Track or Tracking is another way of following subjects. It's when the camera moves and follows the subject/action without cutting. It's typically used in walk cycles and is symbolised by using an arrow in the motion of direction. It can also be Hand-held or on a Dolly.

Hand-held is carrying a camera by hand, to give a more natural documentary feel to a scene, typically used in police or war scenes.

Rack Focus is when the camera focuses on a subject in the foreground and the background is blurry, and then it reverses so that the focus shifts to a clear background and blurred foreground. In a storyboard, just draw where the focus starts and an arrow and rectangle where it moves to.

3. The Art of Storyboarding

3.1 Before Starting to Storyboard

Next, let's take a glimpse at the art of storyboard making.

Before you get started, gather your notes, read over your script, and research whatever source materials you need. Clients might give you some reference material, but in most cases you need to gather your own.

Consider asking the client a few questions before storyboarding:

Do you have a script or breakdown of the script?

Who is the storyboard for?

Color or black and white?

Budget?

Format to be used?

Reference material?

Delivery date?

3.2 What Are Thumbnail Storyboards?

Before you start illustrating the storyboard, you need to break down the script, in order to examine the scenes and translate them into individual storyboard panels.

The easiest way is to add Thumbnails to your storyboard scenes.

Thumbnail storyboards are sketches, mainly quick illustrations of stick figure forms, notes, and laid-out sequences of events on a page. This is done to quickly determine how each shot/camera angle/movement will be used. It also helps to evaluate which images need to be storyboarded and which not. With thumbnails, you can swiftly step back and analyze your entire animation in individual panels, before even starting with the actual storyboard work.

Here is an example:

3.3 How to Break Down the Script

Once you have thumbnailed your script and gathered all your material, it's time to start drawing out your frames.

Figure out what aspect ratio will be used, lay out what each panel needs to show, and then transform those ideas into a series of storyboard panels.

Decide what elements are in each frame of the storyboard (characters, objects, background), and the best shot type to communicate the event.

3.4 Lay Out, Structure & The Best Storyboard Software

Every artist has a preferred method of drawing and structuring their panels. You can work with a number of templates available online (one example is the "6panel" single-page template below) or create your own. There is no right way of drafting a storyboard. You can use the good old-fashioned pen/pencil and paper, Adobe Photoshop, or any sketch app and storyboard software available today!

Here is a short list of the best storyboard software and apps you can lean on:

1. Storyboarder (Free storyboard software) - Screenshot Below*

2. StoryBoard Artist Studio ($$$)

3. Toon Boom Storyboard Pro ($$-$$$)

4. Procreate (iPad Pro) ($)

5. Paper By FiftyThree (iPad) (Free storyboard software)

6. Autodesk Sketchbook (Free storyboard software)

3.5 How to Label the Storyboard Panels

Learn to label your shots correctly, so that they are in order and you and the team can stay organised.

There's more than one way to effectively number storyboards.

In short, the process is like having an ID for each panel. If you're using storyboard software, it will automatically assign panel numbers. However, if you're not on any software, and a client/director wants to move, add, or delete a panel, you can't name a panel, for example, Panel_6_New_New_New. You will end up needing to find old/new files, and it becomes a messy, time-consuming burden.

The proper way would be to follow this order: Project Name_Script#_Scene_Frame_01.jpg

3.6 Numbering Presentation vs. Production Boards

It's important to know which style of boards your client wants: Presentation or Production boards.

Presentation boards are typically short and are presented internally or used in pitches. They represent only the key shots needed, and not every shot of the director's vision. Only the key elements are illustrated in individual frames.

So, in numbering presentations, it's easy to add a letter, number, or decimal at the end of each panel number.

For example, if you want to add a shot between 23 and 24, then you would call it 23-1. If you want to convey a single shot, in several panels, it could be 23i, 23ii, 23iii, etc.

If you make an alteration to your panel then the correction will be labelled 23-a. That way they're clearly connected, but still have their own unique ID numbers.

Production boards are numbered the same, but the difference is that they are a breakdown of every scene's "action", so each action is broken into camera angles. This means that whenever the camera cuts, you must change the scene number to represent a new shot. So, for example:

Once you have submitted the board, your job is done. The client might transform it into an animatic.

3.7 What's an Animatic?

An Animatic is simply an animated storyboard!

Once you submit your storyboard, the production team might take the illustrated panels, import them into an editing program, and add a Voice Over ( VO), audio, sound effects and/or demo music, to prepare the timing and pace of the production for presentation purposes.

4. Storyboard Artist Job, Tips & Hints

4.1 How to Storyboard Effectively

The whole concept of storyboarding is to represent the concept, as closely as possible to what the animation will look like in the end. So your audience should be able to follow and understand the story through the sequence of frames you illustrate. Your job is to make the script come to life.

Elements that might help communicate a story more accurately include:

Use of storyboard Arrows or Symbols to show camera movements. Storyboard Arrows help show movement, direction, and transitions.

Color an object/subject to differentiate it from the surroundings.

Add Captions under or in the images

4.2 How to Enhance the Look & Feel of the Storyboard Frames

Creating a comprehensive storyboard that looks and feels professional is not just an art but a skill.

If the audience doesn't understand a part of the storyboard then usually it will need to be enhanced or altered. They should be able to understand the visuals without the dialog. Your best "test" audience would be your parents, siblings, or cat/dog. Try it out.

There are different approaches to illustrating a storyboard. Some artists like to use splashes of ink and color, others draw rough doodles and scribbles, some may only draw outlines, or in greyscale, or you may be the type that adds lots of details.

There are no rules to storyboarding, but there are some guidelines and tips to enhance your images and help stretch out your skills:

Add details to a scene or character-this helps the viewer's imagination. For example, add utensils in a kitchen scene, or a zebra crossing on a street scene. The more you communicate through a board, the more accurate the production will be.

Experiment with different camera angles, especially within dramatic scenes. Try over the shoulder shots, worm's eye views, or extreme close-ups.

Avoid positioning the subject in the center of a panel, and make use of most of your negative space.

Avoid tilted frames, complicated angles, or splitting screens in half with horizontal lines.

When drawing people or a setting, where a crowd is needed, add a number of people, instead of just two people in the background.

Be sure your subject/character is facing the correct camera direction.

Ask yourself what type of camera shot/angle you will use. Do you need a close-up? Will the camera move?

Make every frame count.

It pays to practice! Practice at home while watching your favourite movies.

4.3 Understanding the Job

Now that you have equipped yourself with some visual references and storyboard terminology, here are a few things to remember.

Be professional and punctual, and add your personal touchto the work.

Being able to draw is one thing, but you need to grasp the technique of good visual storytelling.

Understanding how to frame shots will help the production team to save time and costs.

You should be able to take the client's script, notes, and references and turn them into a readable visual. If you can analyse how a scene can be transformed into a great visual, that's a bonus.

You also need to draw fast!! Like really fast. Delivery on time is essential. Be punctual!

Clients tend to need storyboards delivered the next day, or within two days, or you might get emergency work to be done the same night. They might even request additional frames after delivery, and you will need to deliver them by the hour. So, unfortunately, there is not the luxury of time.

Storyboarding is paid by frame, so the longer you take, the less you make.

If you also have a specific artistic style/touch that clients like/want, you will make good money and be on your way to becoming a good storyboard artist!

4.4 How to Land the Job?

The best way? Well, you can start by working for free or a small fee.

Seek internships.

Apply to entry-level storyboard artist positions.

Apply to little production studios first, to test out your skills.

Build a portfolio that will show off your abilities.

Draw, draw, draw.

Be ready to take criticism. Constructive feedback will help you develop.

That's It!

I hope you found our post on how to be a storyboard artist was useful. Now you have your basics ready, so it's time to get started.

Chances are if you continually get called on for work, then either your price rates are cheap or your delivery is fast or your style is just right!

On the other hand, if you feel you are not cut out for the task and wish to hire a storyboard artist then feel free to email me, anytime.

Good luck!

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How to Storyboard: A Basic Guide for Aspiring Artists

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Have you ever what wondered what kind of planning goes into making commercials, short films, or animations? Well, for starters, the backbone of any of these projects is a storyboard or a storyboard artist. Storyboard artists are individuals who take a script/concept and turn it into a visual story.

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Write an artist statement about your artwork!

Write a brief artist statement about our ink blob artwork using the artist statement flow chart: https://theartofeducation.edu/2015/09/use-this-flowchart-to-help-your-students-write-authentic-artist-statements/#:~:text=Encourage%20students%20to%20describe%20the,consider%20splitting%20the%20questions%20up.

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Use This Flowchart to Help Your Students Write Authentic Artist Statements

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Use This Flowchart to Help Your Students Write Authentic Artist Statements Assessment Design % %

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Create a title for your artwork and explain why you chose it!

Read Clara Nartey's article on naming your artwork and then create your own. https://claranartey.com/name-title-your-artwork/

Respond in a few sentences to this posting explaining your choice.

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CLARA NARTEY |Unlock Your Creative Potential

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Naming your artwork can be very difficult for most artists. Since I love making up words so much, it hasn't been a major problem for me. However, in the beginning, I struggled with knowing whether I was naming my pieces the right way or whether I was doing something wrong by naming them "my way". In other words, are there standard conventions for giving artwork titles?

Very often, I come upon this question or a variation of it in the different art groups to which I belong. How do you title your artwork? Interestingly, recently I was faced with this same question.

As an artist, I've got to answer this question every time I create a new piece. Usually, by the time I finish the piece, I've got a name for it. and as part of my finishing touches, I add the title to the back of each piece I make before I call it done. Interestingly, when I completed my last piece, I didn't have a name for it by the time I was done.

How to Title an Artpiece

That was the first time in a long time I've been faced with this question again. How should I title an art piece? This is my method for coming up with all the titles of my works.

The titles I give my work will come to me during the process of making the piece. They generally have to do with one of these things:

As you can see there are several ways you can come up with a title for your work. There are still various things you need to think about when naming your artwork. One of them is what makes a good title. Jason Horejs from ReDotBlog.com has the following suggestions.

What Makes a Good Title?

A good title :

will provide insight into your inspiration for the artwork

may help the artwork tell its story.

leaves room for the viewer to bring his or her own meaning and interpretation of the artwork.

will be memorable and catchy

will be original

will not be too cheesy

Why You Shouldn't Name Your Work "Untitled"

So what about naming your work "untitled". If you can't come up with a suitable name is it okay to name it "Untitled"?

Jason Horejs says

A buyer wants to feel like that artwork they are about to purchase from you is one of your best ever - that it truly is one of your masterworks. They're going to have a hard time believing that if you've called the piece "Untitled No. 427".

And artist Lisa Bernard says

This can be a real deal stopper and a complete turn off to a potential customer. Viewers and potential buyers will have a hard time believing your work has value if your piece is simply called "Untitled". Titles do matter to an art buyer!

Obviously, names matter to buyers. If you don't intend to sell your work any time in the future, you may be able to get away with not taking the time to name them properly. Although naming your work also helps you to easily organize, sort through, and find a particular piece when you need it.

I must say though, after a while of naming your work, it becomes second nature to you. Well, except the occasional piece that doesn't tell you what it wants to be called 🙂 like, my latest piece. In that case, you can resort to this method.

The Last Resort Method for Naming Your Work

Just ask people!!!

And that's exactly what I did with the piece I couldn't name. I told my Instagram followers what the piece represents to me and the thoughts I had about it. Then, I asked them to help me name it. And Instagram artist Julia Walten suggested the name "My Cup Runs Over" which I loved. Because it truly conveys what I wanted to say with this piece. So that became its name.

How do you name your work? Do you have a system? Does the work tell you what it wants to be called? Or do you struggle with naming your work? I want to hear your views.

Warmest Regards,

Also published on Medium.

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How to Name Your Artwork - Practical Tips PLUS Examples | CLARA NARTEY |Unlock Your Creative Potential

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Naming your artwork can be very difficult for most artists. Since I love making up words so much, it hasn't been a major problem for me. However, in the beginning, I struggled with knowing whether I was naming my pieces the right way or whether I was doing something wrong by naming them "my way".

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Create a comic that your ink blob is featured in!

(Note: this activity may take additional time, I recommend this be the last activity you attempt).

Use the tips provided to help you create your own comic strip: https://www.blurb.com/blog/start-a-comic-book/

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For dedicated fans and illustrators, nothing compares to comic books. This dynamic format continues to capture our imaginations in a powerful way, from superheroes and sci-fi to humor and horror stories. With self-publishing on the rise, it's also easier than ever to turn your creative vision into a professional-quality comic book.

So how do you get started? Creating a comic book requires skill, patience, and planning ahead, but it's thrilling to see all the elements come together in the end.

Follow this step-by-step guide to bring your comic book project to life:

1. Choose an idea you believe in

With all the serial content being created online and in print, your creative vision is what sets you apart. Start with an idea that you strongly believe in. Starting a comic book requires a significant time commitment, so you want to make sure you have enough interest in your characters and storyline to see your project through to the finish.

The brainstorming phase looks a little different for everyone, but you can expect your original idea to evolve a bit as you're just getting started. Be sure to keep a notebook on hand to jot down dialogue, sketches, and story ideas when they come to mind.

2. Write the story first

As tempting as it may be to jump right in and start drawing for your comic book, try not to get ahead of yourself. You know from reading your favorite comics that creating a solid storyline is crucial. The text drives the visual action and fills in key plot details and character traits.

If your goal is to make a comic book that feels cohesive and well-designed from cover to cover, then develop your script before you start illustrating. Otherwise, you risk creating a bunch of panels that may have to be reworked or discarded if the narrative doesn't line up with them. Beginners will realize very quickly that revising text is much easier than redrawing an entire page.

Consider the following story elements as you start writing your comic book:

Setting - Is there a clear sense of time, place, and overall mood?

Characters - Are the main characters fully developed and believable? Do they have distinct personalities, motivations, and challenges?

Plot - Does the story follow a natural sequence or arc (background information, rising action, conflict, resolution)? Are there any gaps in information that might confuse readers?

Narration - Is the point of view consistent?

Theme - What lessons do the characters learn?

3. Research the craft of making comics

You may feel like you've consumed enough comics to know how to make your own. However, there is always plenty to learn from more experienced illustrators. In between your own creative work sessions, read books, interviews, and blogs by your favorite comic book creators to discover their tips and techniques. For each step in this guide, you can find all kinds of in-depth tutorials and advice for artists that are new to comic book creation. Use these resources as teaching tools and inspiration whenever you find yourself getting stuck.

You can also do research from your own bookshelves. Think about what draws you to a particular comic series, and study it from a creative and technical standpoint. Notice the decisions the artist made regarding layout, drawing style, color, character, and story. Understanding which elements you find intriguing or effective in another person's work can help you develop your own skills and style.

4. Plan the layout

You're almost to the actual drawing phase (promise!), but the focus here is to work out the composition of each comic book page and the overall flow. Most comic book artists use thumbnails (very rough sketches of each page layout) to see if the content works.

You want to make sure the text and illustrations fit each panel, while also creating momentum in the story to keep readers interested. Does the dialog work? Is the action clear? Is there too much or not enough happening on each page? Too much text, or too little? Think about how you might create suspense at the end of a page so the reader is compelled to keep going.

If you find problems in your first round of thumbnails, simply toss that page out and create a new sketch. This part of the creative process can involve a lot of trial and error-that's ok! It's always better to figure out how the story progresses before you spend time inking and coloring your comic book drawings. Otherwise, you'll be setting yourself up for potential frustration later.

The more you draw, the better you'll get at determining how to sequence your panels and when to make cuts. For now, if you're just starting out in the world of comic book creation, stick to simple layouts. Leave the complicated compositions for a future project when you've acquired more skills.

5. Create a set of rules for drawing

One recommendation from experienced comic book artists is to establish a consistent style of illustration that is doable and efficient for the scope of your project. That could mean assigning specific textures, shading, or coloring effects to certain characters or backgrounds. Or you may decide to limit the number of frames per page. These are your personal guidelines to create visual continuity and to avoid making drawings so complex that you cannot replicate the look and feel.

For beginners, it's especially important to know your strengths and master the drawing techniques you'll be using before getting too far along with your comic book. You don't want to be learning the basics or trying to draw figures you've never attempted before while also making your first comic. That is a recipe for slow, frustrating work sessions! Also, if you experiment too much while creating your comic, the evolution of your drawings will show in the finished version. The first few pages will look drastically different from later panels, where you've perfected your style.

6. Draw the illustrations

You've done all the pre-planning and troubleshooting, so here's the moment you've been waiting for! The process of drawing will look different depending on whether you use pencil and ink, tablets, or drawing apps and software. No matter which drawing method you choose, you can find countless blogs, tutorials, and forums to answer your questions along the way.

Generally, you will follow these steps to complete your comic book illustrations:

Drawing: If you choose to work on paper, the first step will be drawing in pencil. If you are using digital drawing tools or applications, begin by outlining your illustrations. On this first pass, try not to stress about making each drawing perfect just yet; there will be time to add all those details. Just remember to leave space for any captions or text!

Inking: Fill in the drawings, adding texture, depth, and shading effects. (Remember the rules you set for yourself in step 5!)

Coloring: Select the color palette for your entire project-keep it simple. Then assign colors to each character or scene, and be sure to use the same colors every time those elements repeat. Continuity is a big part of visual storytelling!

Lettering: Decide whether to use hand lettering or installed fonts on a digital device. Regardless, your text needs to be legible in order to make an impact. (If you want to digitally add text boxes to your layout, you'll have a chance to do that in step 8.)

7. Choose a format

With print comics, the format you select contributes to the overall reading experience. Blurb's Magazine format is a classic choice for comics. You get plenty of space on each page, and you can print a high volume at a low cost.

For more ideas and inspiration, check out comic book projects in the Blurb bookstore.

8. Select a book-making tool

Once you know your format, decide which publishing tool fits your skill level. Here's where the pace of your comic book project really starts to pick up and you can see the finished product within reach!

If you created illustrations by hand, the fastest and simplest way to make a book is Blurb's PDF uploader. Scan your pages and cover to create PDFs, select a trim size, and upload your PDFs to create a print-ready comic book!

For more creative control, use Blurb's free desktop tool BookWright. Just drag and drop your image files (at least 300 DPI) into premade templates, or create your own comic book layout. This option also lets you add captions or text boxes to each page.

If you already used Adobe InDesign to create your comic book layout, use our free plug-in to set up your book. It provides trim and bleed guidelines for each book size and format.

9. Publish and order your comic book

It's time to release your creative vision into the world! Order copies of your comic to share with family and friends, host a comic book launch event, or sell your comic book online.

Now that you know how to start a comic book and self-publish it, the creative power is in your hands!
Are you ready to get started? Make a comic book with our free desktop tool, BookWright. Download for free today!

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For dedicated fans and illustrators, nothing compares to comic books. This dynamic format continues to capture our imaginations in a powerful way, from superheroes and sci-fi to humor and horror stories. With self-publishing on the rise, it's also easier than ever to turn your creative vision into a professional-quality comic book.

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Writing Prompt: Compare and contrast your ink blob artwork to a classmate's ink blob artwork.

This reponse should be brief and should be submitted in response to this posting.

Here are some aspects to consider who comparing artworks: https://thinkingmuseum.com/2022/12/15/5-thinking-routines-for-comparing-contrasting/

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INTRODUCTION

Today I'm sharing 5 different thinking routines that you can use to and make connections. I'm exploring how you can use these thinking routines to create engaging discussions with art, objects and ideas.

I'll look first at what comparing & contrasting is and why it's important. Then I'm sharing some ideas for things you might want to compare and contrast, before sharing different ways to look at similarities and differences.

Then I'm sharing 5 thinking routines help us to make thoughtful and purposeful comparisons.

WHAT IS COMPARING AND CONTRASTING?

At a basic level, both comparing and contrasting base their evaluation on two or more subjects that share a connection.
The subjects could have similar characteristics, features, or foundations.

So comparing and contrasting is looking at things to determine how they are alike and how they are different. You're looking for similarities and differences

Comparing involves identifying similarities and/or differences, whilst contrasting involves comparing two or more things to look for their differences.

WHY IS IT IMPORTANT TO COMPARE AND CONTRAST?

When you compare and contrast and look for connections, you may highlight subtle differences or similarities.

This may lead to a deeper understanding of whatever it is you're discussing.

Juxtaposition is the act or an instance of placing two or more things side by side often to compare or contrast or to create an interesting effect .

Placing two objects or artworks side by side and comparing them, will help you to notice more details in both.

It also helps us to notice the choices that were made when the said artworks, objects were created.

WHAT KIND OF THINGS CAN I COMPARE/CONTRAST?

Here are some things you might want to compare and contrast:

Or consider:

Comparing two artworks or objects from different time periods

Comparing and contrasting art from the same art movement

Comparing genres - two portraits (of the same person but by different artists), two landscapes etc

Comparing and contrasting two objects that are the same but from different time periods - ie clocks or teapots

Juxtaposing two artworks showing the same subject and comparing/contrasting - e/g haystacks by different artists

These are just a few ideas to get you started. Once you get started you'll be able to come up with lots more ideas too!

Let's now look at some thinking routines that help us to compare contrast and/or make connections.

SEE WONDER CONNECT

So let's start with See Wonder Connect. See Wonder Connect was created by the National Gallery of Art in Washington DC and inspired by See Think Wonder.

Like See-Think-Wonder, See-Wonder-Connect is an extremely versatile thinking routines. It works particularly well at the beginning of a guided tour or educational programme.

First of all, spend some time looking before then describing what you see.

Then for the second part, you can either ask what are you wondering about or you can ask your group to brainstorm a list of questions that they have about the artwork, much like the thinking routine Creative Questions.

Encourage your group to think of who, what, how and why questions. e.g. what is it made of, how it is made, who made it or why is it here, etc.

The final stage is where the connections come in. You invite participants to make connections with a work you choose or one they choose. There are many ways you can approach the connections part - you can ask them to make connections with another artwork in the same gallery or next to this artwork. You can ask participants to choose their own artwork that they would like to connect with the current artwork and then to provide reasons for the connections. You can ask participants for ways in which they connect with the current artwork. As with all questions about personal connections, a safe and trusting atmosphere is especially important.

You definitely want to establish this at the start of your session and you can also remind participants about it at this point in the discussion too. Encourage but do not require participation. You do not know what an artwork, object or discussion can bring up for people, so err on the side of caution. Make this a writing activity and ask participants to share if they want to. Or use small groups to discuss.

Finally you can also invite connections with subjects at school or their hobbies. There are so many ways that you can invite connections with SWC.

SEE WONDER CONNECT

First of all, spend some time looking before then describing what you see.

Then for the second part, you can either ask what are you wondering about or you can ask your group to brainstorm a list of questions that they have about the artwork, much like the thinking routine Creative Questions.

The final stage is where the connections come in. You invite participants to make connections with a work you choose or one they choose.

There are many ways you can approach the connections part -

You can ask them to make connections with another artwork in the same gallery or next to this artwork.

You can ask participants to choose their own artwork that they would like to connect with the current artwork and then to provide reasons for the connections.

You can ask participants for ways in which they connect with the current artwork. As with all questions about personal connections, a safe and trusting atmosphere is especially important. You definitely want to establish this at the start of your session and you can also remind participants about it at this point in the discussion too. Encourage but do not require participation. You do not know what an artwork, object or discussion can bring up for people, so err on the side of caution. Make this a writing activity and ask participants to share if they want to. Or use small groups to discuss.

Finally you can also invite connections with subjects at school or their hobbies. There are so many ways that you can invite connections with SWC.

SEE THINK ME WE

Our second thinking routine is See Think Me We which actually had a whole episode to itself way back in Episode 8 - do go back and listen to that one if you haven't yet. I'll put a link in the shownotes.

This thinking routine was developed as part of the Arts as Civic Commons (ArtC) project at Project Zero.

This is a really accessible routine and works well with a wide variety of works and mediums

There are connections to but the key differences are the ' See Think Wonder Me' and ' We' parts that require fairly confident facilitation skills. So See Think Me We requires a little more experience on the part of the facilitator.

SEE: Look closely at the artwork. What do you notice? Make lots of observations

THINK: What thoughts do you have about the work?

ME: What connections can you make between you and the work?

WE: How might the work be connected to bigger stories- about the world and our place in it?

SEE THINK ME WE

You may want to set the tone and discuss guidelines for respectful discussion before you start as this routine asks participants to share personal connections.

The 'Me' and 'We' steps might be challenging for some participants, so consider working in small groups or pairs.

You might also want to model the 'Me' and 'We' steps by sharing your response first with some groups.

As with See Wonder Connect, establish a safe and trusting atmosphere and do not require participation.

See Think Me We can be used with a huge variety of artworks - especially those that highlight specific themes.

The discussion will bring up surprising and fascinating connections and lines of inquiry too as you move from making personal connections in question 3 to more global connections in question 4. This is a thinking routine that I've been using more and more in 2022 - definitely give it a go!

Finally I want to cover three routines that compare and contrast - same different, same different gain and same different connect engage. All are routines for thoughtful and purposeful comparisons.

Same and Different asks you to choose a debate, incident, or object in which opposing views are clearly apparent, or images that look different but are grouped together.

After a short period of time observing and describing, more on to the Notice step.

Spend some time noticing and talking about the first impression you had about the images, artworks or objects. What was the first impression you had about this?

Then move on to perspective-taking. From what other points of voice could this be perceived? What would one say from these points of view?

And finally look at the similarities and the differences. What are the similarities? Differences? How is this case the same and different at the same time?

This routine helps learners go beyond the surface of similarities and differences. Complex matters are often presented and accepted as is. It's not until they are questioned and explored more thoroughly and deeply and from different angles that they can be better understood and more thoughtful opinions and decisions made

Finally I want to cover three routines that compare and contrast -

same different, same different gain and same different connect engage

All are routines for thoughtful and purposeful comparisons.

For Same and Different you can choose a debate, incident, or object in which opposing views are clearly apparent and use the thinking routine to discuss. Or you ca choose images that look different but are grouped together - ie in a gallery or museum.

After a short period of time observing and describing, more on to the first step which is the Notice step.

Spend some time noticing and talking about the first impression you had about the images, artworks or objects. What was the first impression you had about this?.

Then move on to perspective-taking. From what other points of voice could this be perceived? What would one say from these points of view?

And finally look at the similarities and the differences. What are the similarities? Differences? How is this case the same and different at the same time?

This routine helps learners go beyond the surface of similarities and differences. Complex matters are often presented and accepted as is. It's not until they are questioned and explored more thoroughly and deeply and from different angles that they can be better understood and more thoughtful opinions and decisions made

SAME DIFFERENT GAIN

Then moving on to This thinking routine being piloted by Same Different Gain. I explored this thinking routine fully in a thinking routine class earlier this year. Re-imagining Migration in partnership with Project Zero at the Harvard Graduate School of Education.

It asks you to identify the two items you would like to compare and then look and examine each one closely. We came up with a list of observations for both artworks - resisting the temptation to start interpreting at this point. It's all about ' Say what you see, not what you think '.
Then we moved on to comparing:
What do you see that is the same across the two? Name commonalities and patterns

And contrasting:

What do you see that is different? Name the differences you observe

And then the final question: What do we gain from comparing the two?

Essentially, this question is getting us to think about whether thinking about differences and similarities changes the way we see things. It's a useful thinking routine and I'd like to try it out with more artworks or objects.

SAME DIFFERENT CONNECT ENGAGE

And finally, a new thinking routine for me and one I've just added to my Ultimate Thinking Routine List. You can download the list here (a new updated version will be available in early 2023!). I haven't yet tried this one out but I'm really curious to give it a try.

Same Different Connect Engage was developed as part of the ID Global, Reimagining Migration project at Project Zero.

It's a routine to nurture empathetic perspective taking and bridge building

It has 4 parts Same, Different, Connect and Engage, it asks:

Same In what ways might this person and you be similar?

Different In what ways might the person and you be different?

Connect In what ways might the person and you be connected as human beings?

Engage What would you like to ask, say, or do with the person if you had the chance?

I can't wait to explore this thinking routine in more detail in 2023.

So that's it, 5 thinking routines for comparing, contrasting and making connections. I hope you've enjoyed today's episode. This is the last post of 2022. I'll be back with a new one on 5th January.

In the meantime, do take some time to listen to any of the episodes in our large back catalogue.

The Ultimate Thinking Routine List

I've been working on an ultimate list of ALL 100+ thinking routines as a handy instant reference guide for educators, guides and creatives working with Visible Thinking. Get inspired!

If you'd like to receive a free copy, then click here.

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5 Thinking Routines for Comparing, Contrasting and Making Connections

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Today I'm sharing 5 different thinking routines that you can use to compare, contrast and make connections.