Image, Text, and Story: Comics and Graphic Novels in the Classroom

Author(s): Rachel Marie-Crane Williams

Source: Art Education , Nov., 2008, Vol. 61, No. 6 (Nov., 2008), pp. 13-19
Published by: National Art Education Association

Stable URL: https://www.jstor.org/stable/27696303

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BY RACHEL MARIE-CRANE WILLIAMS

Comics and graphic novels are powerful teaching

tools; reading and making comics encourages
students to become more skilled at critically
consuming and creating texts that examine complex
concepts (Frey & Fischer, 2004; Morrison, Bryan, & Chilcoat,
2002; Berkowitz & Packer, 2001). Students and teachers can use
Pairing visual images with words
comics to examine personal experiences in the form of is an easy way to help students
narratives related to empowerment and empathy. Brent Wilson
(2005) agreed that embracing comics is one way to blur the develop stronger visual literacy.
boundaries between visual culture, the classroom, and the
practice of contemporary studio artists. In this article, I present
Comics offer an opportunity
a rationale for comics in the classroom, discuss the connection for students to scrutinize how
between comics and the "Art" world, and share information
about my experience teaching comics. Finally, I make a case for interdependent images and
why comics are the perfect medium fu^^^^^^indaries: words can create a strong
creating empathy, and educating studf^^^^^H artistic
production and consumption of powerful seaue?lnarrative.

ilm
I*. &U CANNOT

Story:
I FEU

Why Comics?

Comics and
There are at least three reasons why comics and graphic novels are
useful teaching tools: (1) there is a great deal of student interest in
this genre; (2) they are inexpensive to obtain; and (3) the vocabulary
is not difficult so they are easy to read (Wright & Sherman, 1999).
Most important in the art room, comics create opportunities for

Graphic Novels
teachers to engage students in meaningful discussions about visual
perception, drawing and design, art history, and content on multiple
levels (Berkowitz & Packer, 2001).

in the
Teachers who skillfully use comics and graphic novels in their
curriculum present numerous opportunities for students to decon
struct these texts on multiple levels. This layered deconstruction may
include examining the story; the creator's intention, characters, and

Classroom
context; as well as the relationship between the design, words, and
images. While words, images, layout, and story are all elements in
these texts, none dominate the act of "reading." Students are usually
comfortable decoding (reading) the visual system of letters and
words. Pairing visual images with words is an easy way to help
students develop stronger visual literacy. Comics offer an opportunity
for students to scrutinize how interdependent images and words can
create a strong sequential narrative. These texts do not dictate what
students notice first, how or what they "read." Like scanning a work
of art, the reader can decide where to begin and how long to look.
Readers can choose to look at the words or the images first, or take
the page in all at once as an integrated design.

NOVEMBER 2008 / ART EDUCATION 13

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 Comics, Visual Culture and automatically outside the notions of artistic Many creators of contemporary comics
Wilson's Three Cultural Sites credibility" (p. 8). Thierry Groensteen, a and graphic novels feel that it is advanta
comics scholar, states four reasons that geous not to be recognized by the art world
In most classrooms there is a gap between
comics were once "condemned to artistic as legitimate artists practicing a legitimate art
the work of artists in the contemporary art
insignificance:" (1) they are a hybrid form form. In 1993, Art Spiegelman, the well
world, popular culture/art, and the curric
combining words and images; (2) the literary known creator of Maus I Sell said, "Comics
ulum taught in typical K-12 art classroom
aspect of comics is seen as sub-par in terms fly below the critical radar" (Sabin, 1996, p.
and at the post-secondary level (Gude, 2000,
of quality; (3) comics are perceived as closely 9). Since Spiegelman s comment, comics and
2007). Comics are one way to enter what
connected to the "low" art of caricature; and graphic novel readership dramatically
Brent Wilson categorized as space between
(4) comics are associated with a regression to increased. Comics and graphic novels are a
the school and the realms of contemporary
childhood pleasures (Groensteen, 2000, p. genre in which creators explore serious
art and popular visual culture: a para-site
34). Ironically, the past relegation to the themes and write amazing short stories
alongside the main site (Wilson, 2005). "In
world of low art is, at times, advantageous for (Allen, 2006). In 2004, in response to the
this site students would be encouraged to
comics. Roger Sabin (1996) wrote question of whether comics had gained a
play intertextually between the conventional
The comic's exclusion from the art new level of acceptance, Spiegelman said,
content of their art classes and the things that
establishment enables it to eschew the It's a done deal. There are museum
interest them from popular visual culture"
dampening appraisal of art criticism. shows that will include comics without
(Wilson, 2003, p. 225). According to Wilson,
Moreover, its association with street blinking an eye. And bookstores all have
teaching visual culture provides a bridge
between the traditional art classroom and the culture gives it a certain edge, which their sections for comics or graphic
world of images in which children are gladly many contemporary artists have vainly novels or whatever they're calling them.
submerged. This art/literary form presents an attempted to transfer to the gallery. Universities are teaching comics. It's now
opportunity for students to explore stories, Whereas fine art can only send shocks part of the culture without having to be
art, time, design, aesthetics, culture, history, through the art world, comics?available something to apologize for. (in
to a far broader audience?are still Fischer, 2004, p.5E)
and manual and computer techniques for
image making (Frey & Fisher, 2004). regarded as dangerous enough to be Spiegelman is right. Currently, there are
clamped down on intermittently, (p. 236)
Comics, the Classroom,
and the "Art" World
While it seems obvious that comics and
Most students had a very limited idea of what comics/graphic
graphic novels are suitable fodder for any novels can look like. What helped to liberate students from their
classroom, including the art room, to boost
literacy, there is some resistance by educators fear was encouragement from their peers and seeing a large
and critics to acknowledging comics as
legitimate art or literature (Groensteen, 2000; number of examples.
Thompson, 2007). According to Thierry
Groensteen (2000), comics have existed for The most notable clamp on comics was in three academic peer reviewed journals that
over 150 years, and the resistance to the late 1940s and early 1950s. Bradford deal with nothing but comics. There are also
a number of universities that offer courses
legitimizing comics is historical and applied Wright (2001) presents a brilliant account of
by educational policy makers in some arenas the controversy that surrounded comics related to comics and graphic novels and
during the 20th century. He explains that in well over one hundred dissertations written
and the art world in others. Many well
known artists such as Trenton Doyle 1950, Dr. Fredric Wertham, the author of on the subject (http://www.comicsresearch.
Hancock, William Kentridge, Elizabeth Seduction of the Innocents, in an attempt to org/ComicsDissertations.html). In the US
Murray, Arturo Herrera, Roy Lichtenstein, introduce legislation to censor comics, there are six art museums devoted entirely
testified in front of the United States Senate to comic book art and cartoons. In 2006,
and Philip Guston crossed between the world
of high art and popular culture through the Subcommittee to Investigate Crime in $330 million dollars worth of graphic novels,
Interstate Commerce. Dr. Wertham believed comic books, and manga were sold in the US,
creation of work that draws heavily on the
influence of comics (Strickland, 2003). whole-heartedly that comics contributed up from $245 million in 2005 (Reid, 2007).
directly to juvenile delinquency (Wright, Stephen Weiner (2003) a comics scholar
Historically, comics were marginalized in
2001). The comics industry reacted by and library director, believed that there are
the art world, but they are getting more
self-regulating the industry and creating the four reasons for their rise in popularity: ( 1 ) a
critical attention in current and contempo
now infamous Comics Code (Wright, 2001). number of recent movies were based on
rary media. Why are comics positioned on
Ironically, this regulation spawned the graphic novels; (2) publishing houses
the fringe? Roger Sabin (1996), a noted arts
underground comix movement, which produced a large number of literary graphic
scholar from the UK, stated that historically,
birthed some of the most notable comic
"They are perceived as intrinsically commer novels; (3) novelists broke into the industry
creators in this century. and used the medium to explore serious
cial,' mass produced for the lowest-common
denominator audience, and therefore literary novels; and (4) journalists drew
attention to the growing field.

14 ART EDUCATION / NOVEMBER 2008

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 i partons tfcfct
Using Comics and Graphic mateus cru while otherf mate
m
wefoe rwt an wtfmmmg
Novels to Explore Empathy,
History, and Story
As a teacher, I see firsthand how the use of
comics and graphic novels can present occasions
OtAer people's
for students to explore multiple disciplines that
inform their artmaking process. These texts also c
Min? I try to
seep up. Maybe
its just arwbfcy.
can aid students in exploring important social
tf aybe 1 enjoj
issues. Graphic novels, like a compelling work beins outraged.
of art, or a well-crafted piece of writing, have
?&ufc Ste*??
the potential to generate a sense of empathy and the sh?
and human connectedness among students. For UhM did I hate
the war ao?<
example, in Maus I by Art Spiegelman (1986), u,hu did I J?*
Persepolis by Marjane Satrapi (2004), or Palestine ?tl Uttyajwl
asking t^ese
by Joe Sacco (2002), it is impossible for readers questions? Its
oVer pou). 1
not to feel some sense of empathy with the ouaht to see
main characters and the conflicts they endure wh? else is on
and witness. Readers watch characters wrestle
with history and their personal and surprising
reactions to events. Empathy is one of the most
important topics generated by this type of
material. Art allows viewers to step into the eyes
of another and consider a different point of view.
Candace Jesse Stout, a professor at Ohio State
University, stated, "It is the aesthetic experi
ence that makes possible 'privileged moments'
through which students can live new experiences
and move beyond the limitations of self" (Stout,
1999, p. 34).

Comics within a Learning

Community
I use comics as part of my curriculum in
both the university setting and in a secondary
school setting. The learning objectives are
different in each setting. Image, Text, Story:
Exploring Comics and Graphic Novels is a
course where students explore various genres
within comics, deconstruct the production of
comics using Scott McCloud's (2006) Making
Comics, and produce their own graphic novella.
The first two objectives, exploring and decon Figure 1. Joe Sacco, How I Loved the War in Notes from a Defeatist, 2003, Fantagraphic
structing comics, were enjoyable for students. Books, Seattle, WA (page 188). Courtesy of Fantagraphics Comics.
But, when students were asked to create their
own comic/graphic novel they were suddenly
plagued by self-doubt. Some students were realism, hyperanatomical depictions of muscular
distressed over the idea of drawing, others about superheroes and heroines, and Manga/Anime
writing the story. Most students had a very inspired illustrations. By showing them a wide
limited idea of what comics/graphic novels can variety of work by accomplished comics artists
look like. What helped to liberate students from such as Joel Priddy, Ester Pearl Watson, Aileen
their fear was encouragement from their peers Kominsky Crumb, Lynda Barry, Joe Sacco, Chris
and seeing a large number of examples. In spite Ware, and John Porcellino, we hoped to help
of this, self-doubt was difficult to overcome. them ignore the demon on their shoulder
I had to work hard to erase students' stereo shouting, "Is this good? Does this suck?" (Figure
1). We also introduced them to the computer
types, even more so to erase their ideas about
program Comic Life by PLASQ.
traditional comic drawing styles including

NOVEMBER 2008 / ART EDUCATION 15

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 Initially, many students had a great approach involved patterning a story after a
concept, but flagged when they had to favorite text by following conventions of the
move from a concept to a story arc. I gave genre to which the text belongs. Small
students several exercises to help them enter working groups were useful to help students
their story in different ways, through the "workshop" their graphic novellas with
creation of a character, the creation of a trusted peers who were involved in the same
space, through found stories from covert endeavor.
observation, to personal stories taken from In another course, I asked preservice art
experiences and journal writing. Another teachers to create a comic about a personal
experience. These experienced artists found
the assignment of creating a short comic
strip difficult but rewarding. Students were
motivated by the memoir-based texts from
creators such as Lynda Barry, Joe Sacco,
Chris Ware, Alison Bechdel, Harvey Pekar,
Joel Priddy, and Aileen Kominsky Crumb
(Figure 2). Many students were adept at
drawing but struggled with the story. We
spent a day telling stories; this helped
students translate their stories to images.
Next we converted the images into a
storyboard, and finally a comic.
One student who was trained as a medical
illustrator had never explored drawing as a
medium for telling stories. She enjoyed the
challenge and also found her story to be
more humorous and easier to translate using
images. Her story was about rescuing a calf
that was stuck in the birth canal. She was
called late one night because the men who
were working with the cow knew she
understood the principles involved in calving
and was not squeamish, and that she had
small hands. In the end she impressed the
farmers and also saved a calf (Figure 3).
Another student participated in a
collaborative workshop between the
University of Iowa Art Education
Department and area art teachers to create
rod puppets and marionettes. Her rod
puppet, a cow king she named Bullregon,
became an animated superhero. During the
semester, an ex-boyfriend harassed her
continuously. In her comic, she created a
narrative where Bullregon made her
tormentor "disappear." While her story was
fantastic, it was based on events in her life.
For this student, creating the comic was
therapeutic, technically challenging, and
empowering. Her rod puppet became a
model for drawing, and a vehicle for her
fantasies (Figure 4). Both of these preservice
teachers rose to the challenge of creating a
comic based on personal experience. They
both planned to use this experience as a
Figure 2. Onion Jack. Joel Priddy, 2006. Courtesy of the artist. springboard for instruction in their future
classrooms.

16 ART EDUCATION / NOVEMBER 2008

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 ^^^^^^^^^^^H wMCRf W* JSS?SKl ' l"^itl -: ?JIBkL. ^^f^l9| Ilnl lili I ^^SfS^r ^-^ ^^aaai^fi?H?; 'VJllMFr^? ^Mfil?l r^F ? r-"*'r f\\ I

Figure 3. Adventures in Calving. Sara Thede, 2006. Courtesy of the artist. This comic, created by a preservice teacher, features a narrative about calving.
The heroine is called in to rescue a calf who is stuck in the birth canal. This student used elements from the typical superhero genre to tell a personal
and humorous story. Trained as a medical illustrator, Sara found that working in this way was challenging and pushed her highly honed naturalistic
drawing skills in a new direction.

or non-fiction narrative to illustrate an

Graphic Novels and Human powerful text that told a compelling story.
article from the United Nations Declaration
Rights His father operated a concrete company. His
of Human Rights. comic strip was based on article 23, which is
Graphic novels can also help teachers
First, students chose a graphic novel to related to the right to work, form unions, and
approach delicate subjects such as war, peace, work in human and favorable conditions
or human rights. There are a number of read with classmates in a series of reading
circles. Next, students explored different without discrimination and for pay that is
creators who have written graphic novels that
styles of drawing and design within the texts just, fair, and equitable (United Nations,
explore issues related to war, peace, and
they read. Then students chose an article
1948).
human rights, including Sue Coe, Joe Sacco,
from the United Nations Declaration of His strip depicted a worker in a concrete
Eric Drooker, Seth Tobocman, Marjane
Satrapi, Brian K. Vaughan, Pat Mills, and Joe Human Rights. They wrote a research paper factory who was injured on the job and then
on the article, thus gathering information for fired. Concrete man came to the rescue and
Colquhoun.
the creation of their comic strip. After this, told him about article 23. In the end, the
In a secondary classroom, English teacher
students created thumbnail storyboards in worker created a trade union and fought
Jeremy Prouty and I collaborated to help
preparation for their final work. back. Even though this student struggled
students produce texts about human rights
The final results successfully represented a with drawing, his successful strip was
issues. Their final assignment tied together a
wide range of images, styles, designs, and meaningful and drew on his personal
powerful collaborative 12-week curriculum
approaches. One student, who was initially experience.
project about human rights. We asked
students to produce a comics-based fictional uncomfortable drawing, produced a

NOVEMBER 2008 / ART EDUCATION 17

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Making a Connection David Swanger (1993) made the case that 2004), Palestine (Sacco, 1996), Safe Area:
art is essential to a moral education, which Gorazde (Sacco, 2000), Portraits of Israelis &
It is important to create compassionate
includes empathy. He stated, "One of the Palestinians (Tobocman, 2003), Nakedness
students who can comprehend the reasons
feelings that art engenders is empathy; and Power (Tobocman, Turner, & Brownhill,
that each person is essential to our world.
I think those same reasons are even more successful art creates a connection between 2003), Charleys War (Mills & Colquhoun,
urgent to comprehend in our current context the percipient's sensibility, the sensibility of 2005), Barefoot Gen (Nakazawa, 2004),
the artist, and if the art is representational, Bloodsong (Drooker, 2002), Pride of Baghdad
of world peace, globalization, immigration,
and integration (Duncum, 2001). Teachers the figures within it" (p. 43). He goes on to (Vaughan & Henrichon, 2006), Addicted to
can create an opportunity to inspire empathy, use the example of Maus II (Spiegelman, War: Why the US Cant Kick Militarism
1986). He noted how our empathy telescopes (Andreas, 2004), The 911 Report (Jacobson &
curiosity, and action. Empowering students
when we read this particular graphic novel Col?n, 2006), and Macedonia (Pekar,
to produce compelling texts creates an outlet
(Swanger, 1993, p. 44). There are a tremen Robertson, & Piskor, 2007).
for their need to participate, be heard,
explore their own stories, and learn more dous number of graphic novels, like Mausy My experiences confirm that comics are a
about relevant social issues. that deal with narratives of oppression, powerful way for students to envision the
conflict, and war, and which can inspire future, understand historical events, explore
empathy, including Persepolis I&II (Satrapi, their own narratives, develop empathy, and
learn about images, text, technology, and
design.
SMEXT MORNING
Graphie novels and comics can be an
innovative way to bring visual culture into
the classroom. They can spark a wide range
of interdisciplinary discussions and focus
students on a variety of topics, ranging from
war to fantasy to memory and childhood.
Comics and graphic novels are tools to help
teachers reach reluctant students and learn
about youth culture outside of the class
room. Taking a final look at Wilson's third
pedagogical site, where visual culture from
outside of school connects with a genuine
learning community within a classroom
where inquiry can be initiated by any
|lM#lMf>??MIMII)ii?tl?itl?tlUl#lll?UifiUM?fttStMillHH participant, I believe, like Wilson, that
comics, manga, and graphic novels can
..../ guess he 's Just disappeared. Nobody
create a bridge that is wide, stable, heavily
knows where he went Just up and gond
trafficked, and easy to cross.

Rachel Marie-Crane Williams is Associate

Professor of Art Education at The University
of Iowa. E-mail: Rachel-Williams@uiowa.
edu

AUTHOR'S NOTE
I would like to extend my deepest gratitude to the
Obermann Center for Advanced Studies at the
University of Iowa for giving me the time and
space to compete this and other works.

Figure 4. Bullregon. Hollie Reilly, 2006. This detailed comic, rendered in pencil, is based
on a rod puppet created by the student earlier in the semester. She turned her rod
puppet into a hero that makes her ex-boyfriend vanish. She used the comic assignment
to explore a potentially dangerous situation she was facing. This talented and
thoughtful student also found that the comic provided a natural connection between
subjects and media to use with future students.

ART EDUCATION / NOVEMBER 2008

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