National Art Education Association

Heroes in the Classroom: Comic Books in Art Education

Author(s): Jay Berkowitz and Todd Packer
Source: Art Education, Vol. 54, No. 6, Learning to Draw (Nov., 2001), pp. 12-18
Published by: National Art Education Association
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 / in the
Heroes
( Classr
:,,s....
.:@.
art is
Ithinktheonlyrealdifference
betweenfineartandcommercial / /
artisa deadline."(Caputo,1997,p. 62) / /
I ow wouldyou like to put some "POW!" into
your arts instruction?A lesson in comic
books-history, design, story,andproduction
--can make your classes come alive!In the fol-
lowing article,we present some background,guidelines,
and a lesson planto help you use comics and cartoonsin
developingthese artisticskills of students.So, as they say,
"Up,up and away!"
Comicsand cartoonsprovidea wealthof pedagogical
opportunities.By placingcomics in historical,aesthetic,
educational,and empoweringcontexts,wepresent a new
approachto using these materialsto buildartisticskills
andinvolvestudentsin artappreciation.Aftera brief
historyand criticalanalysisof comic books and cartoon-
ing, we providea lesson planand guidelinesfor using
these materialsin teachingchildrenand adults.
- ART EDUCATION/ NOVEMBER2001
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,c ;1
'0 1 1) P K
Id^
Mnarttechers have met studentswho
state thathey hate drawingor thatthey can't
draw-yet oftenthese studentsget reprimanded
by other teachers for drawingin class insteadof
payingattention.These studentsmay even have a
notebookfull of drawingsthatwere produced
every place except in an artclass. Why?
As an artteacher,Berkowitzhas noticedhow
many studentsinterestedin comic books andcar-
toons did not performwell in artclass. Students
who could not stay focused in a 40-minuteart
class would spend hours drawingcomic book
characters.They also were interestedin comic
book history.
 Comicbooks and cartooningcan be Lichtensteinor RogerShimomura,who Berkowitz(1996)designed an
valuablefor artteachers, but littlehas use comics as a source of inspirationin informalstudywherein studentpictures
been writtenaboutthese in the theirwork. were shown to threejudges. The judges
literatureof arteducation.Brentand As a motivationaland educational evaluatedhow eight picturesfromtwo
MarjorieWilson (1976, 1977, 1980) tool, comic books can be used with groups of cartooningartstudents
suggest thatchildrenshould be permit- adultsand childrenin a varietyof demonstrateda "goodgrasp"of the
ted to copy comics. Othereducators teaching and trainingsettings.Teachers followingartprinciples:figuredrawing,
have writtenof using comics to educate can focus on line drawingtechnique, drawingthe face, movement/action,
children (Smith,1985;Marston,1944). history,aesthetics, empowerment color, andhumor.Whileboth groups of
Scott McCloud's(1993,2000) sophisti- (i.e., studentas super-hero)or creative students received arttrainingusing
cated analyses of comics, presentedin writing.Comicbooks present a low- materialsfromfine artmaster
comic book format,provideample cost, accessible, familiar,and highly reproductions,anatomicalstudies, and
resources for links between comics and engaging mediumto guide, entertain, photographs,in the experimentalgroup
arthistory.His definitionof "comics"as and inspirestudents in manyareas. comic books were emphasizedas the
"juxtaposedpictorialand other images
in deliberatesequence, intendedto
convey informationand/or to produce
an aesthetic response in the viewer"
(p. 9) providesa frameto link traditional
arthistoryto the mediumof comics.
WillEisner (1995),a renownedcomics
artist,places comics in the historyof art,
literature,and storytellingwith analysis
of graphicnarrative;he defines
"comics"as "Theprintedarrangement
of artandballoonsin sequence,
particularlyas in comic books" (p. 6).
Comicbooks are a big business and
a majorpresence in the lives of children
and adults.Accordingto Caputo(1997),
"Inrecent years, comic book sales have
exceeded $4 billionworldwide."Many
adults,includingteachers,grew up
readingcomic books, and they forma
backgroundfor manyculturaland
visualreferences.
Studentscan learntraditionalart
concepts throughthe historyand
design of comic books. For example,
childrenwho like the Teenage Mutant
NinjaTurtlesTMwill also be interestedin
learningaboutthe artistsafterwhom
they were named (Michelangelo,
Donatello,Raphael,and Leonardo).
Batmanfans wouldbe interestedto
learnthathis costume was originally
based on a drawingby LeonardoDa
Vinci.The students could even be
introducedto fine artistssuch as Roy
Withnamesfromclassicalart,Michelangelo,
Donatello, andLeonardo
Raphael, fightevilin
ImageComics'popular
Teenage Mutant ? Mirage
NinjaTurtles.? Studios,artworkbyErik
Larsen(perImageComics).

NOVEMBER 2001 / ART EDUCATION

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 Above:Untitled,1985, by RogerShimomura.
60"by72"acrylic.
Left:KabukiPlay,1985, by RogerShimomura.
21"by29"lithograph.
Below:Untitled,1987, by RogerShimomura.
24"by 60"acrylic.

source materialfortraining.Whilethe study samplewas too

smallfor extensive analysis,the evaluatorstended to pick
drawingsfromthe experimentalgroupas ones they liked best
andphotos of drawingsfromthe controlgroup as ones they
liked least, based on artprinciples.Based on the results
obtainedfromthis questionnaire,it appearsthatcomic books
couldbe useful as a tool in teachingart.
ComicHistory
Cartooning,as the use of images for revealingstories,
can be tracedback as faras the historyof humanbeings.
Prehistoricpeoplepaintednarrativesof animalsandhunting
scenes on the walls of theircaves (Hogben,1949).Another
precursorof today'scomic books came about5000years ago
when Egyptiansdrewcartoonsof animalson limestone and
papyrus(Estren,1993).The historyof comics is profoundly
linkedto the historyof art,a historyof how to tell a storyin
picturesandwordswith a varietyof materials.The first
politicalcartoonin this countryappearsto have been a wood-
cut illustrationproducedby BenjaminFranklinfor a pamphlet
calledPlain Talkin 1747 (Estren,1993).Earlycartoonspurely
for entertainmentbegan in the late 19thcentury.
From 1915-1928,the developmentof a nationwide
syndicationbegan (Hogben,1949).Adventurestripssuch as
Tarzanbegan to appear(Savage,1990). In the early 1930s,
comic stripsin a book formatwere producedandused to
increasethe sales of variousproducts.

ART EDUCATION/ NOVEMBER2001

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 The firstcomic book ever published as a self-imposedregulationof the were harmful.Lindgren(1976) stated
in the United States is in question. comic book industry.The code provid- thatthe relationshipbetween comic
Estren (1993)considersFamous ed guidelines on acceptablecontentin books andjuveniledelinquencydid not
Funnies,publishedin 1934,to be the comic books. Modem artinstructors standup underinvestigation.Lindgren
firstcomic book. Hill (1997)claims The should be awareof the profoundissues cited a studyby PaulBlakely (1958)that
YellowKid,publishedin 1897,was the of controversyand social consequences foundlittleconnectionbetween comic
firstcomic book. The firstcomic book to relatedto comic book content-in books andpoorbehavior.
containoriginalmaterialwas New Fun particularas they relateto rules and Comics also have been an opportuni-
Comicspublishedin 1935by Malcolm expectationsaboutappropriatemateri- ty for the presentationof traditionally
Wheeler-Nicholson('The Major"). als for use in specificschool settings. underrepresentedsegments of society.
In May of 1939Detective Comics These can be used in discussionwith MarvelComicsbegan producingcomic
publishedthe firstBatmanstory,creat- students aboutcensorshipand artist books withAsiancharacters(e.g.,
ed by Bob Kanewith a costume based responsibility. ShogunWarriors).Duringthe 1970s,
upon a drawingthat LeonardoDa Vinci Not all educatorsagreedwith MarvelComicshad been experiment-
made of a flyingmachine (Kane,1989). Wertham'spremise that comic books ing withvariousAfrican-American
Comicbooks have reflectedcontem-
porarysociety in theirfocus and intend-
ed readers.In 1941,CaptainAmerica
became the firstcomic book hero to
fight the Axis Powers.WonderWoman,
createdby a psychologistnamed
WilliamMoultainMarstonas the first
female super-hero,appearedin 1941in
All Star Comics.In the winterof 1942-
1943,Archiebegan as the firstcomic
book intendedespeciallyfor teenagers
(Savage,1990).
Comics code. In 1948,Frederic
Werthambegan claimingthatcomic
books were harmfulfor children.He
charged thatthere was a directlink
betweenjuveniledelinquency,illiteracy,
and comic books. Thatyear, there were
comic book burningsin Binghamton,
(New York),New YorkCity,and
Chicago (Hogben, 1949).The Senate
JudiciarySubcommitteewas createdin
1953to investigatecauses ofjuvenile
delinquencyand began reviewing
comic books (Savage,1990).
In 1954Werthampublished
Seductionof TheInnocentand claimed
thatprolongedexposure to comic books
caused delinquency.Duringthat same
year,The Comics CodeAuthoritybegan

Readers
learn
about of
thedangers
fromthesuperhero
smoking
cigarette
inthisMarvel
SpidermanTM comic.

NOVEMBER 2001 / ART EDUCATION

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superheroes (e.g. The BlackPanther
and LukeCage) andfemale super-
heroes (e.g. Shannathe She-Devil)
(Daniels, 1991).
Since the late 1980sand into the
early 1990s,manynew independent
companieshave been publishingcomic
books. Manyof these independent
publishershave been producingcomic
books withoutthe comic code seal of
approval.Comicbooks withoutthe
comic code seal have been selling as
well as other comics, and this has led to
an increasein the numberof violent
comic books.
In modem times, the impactof
technology on comic books has been
profound.Shatterwas the firstcomic
book createdentirelyon computer.
Three-dimensionalgraphicsand holog-
raphyhave become commonplaceto
contemporarycartoonaficionados.
Comicshave been used to educate
readerson fine artand social issues, too.
In 1995,D.C. Comicsbegan producing
a comic book series titled Chiaroscuro:
ThePrivateLivesofLeonardoDa Vinci.
The series was based uponthe life of
LeonardoDa Vinciandpossible
adventuresthatmight have takenplace
duringhis lifetime.Topics fromchild
sexual abuse to landmines have been
presentedin comic formatbecause of
the powerandpopularityof the medi-
um. A few diverseexamples show how
comic books have been used for:
empoweringyoung girls in Africa
(Bald,1998);encouraging7th to 12th
gradersto use education-to-career/
workforcedevelopmentprogramsin
Indiana("Indiana'snew superheroes,"
1998);educatingvillagersand urban
dwellersin Afghanistan(Skuse, 1997);
trainingstudentsin conflictresolution
("Illustrateconflictresolutionwith
cartoons,"1996) and teachingyoung
adultsaboutthe environment(Elsasser,
1994).
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ComicArtAnalysis
Teachers can presenta varietyof art
analysisprinciplesvia comic books and
cartoons.Reviewinga single comic
book with a class, the students can learn
perspective,figuredrawing,criteriafor
judgingquality,standardsfor originality
andwriting,compositionon page (lay-
out), and other concepts that can apply
to differentartstyles.
Comicartalso offersunique aspects
for analysisand skillbuilding.Many
comic books convey a story-line
throughseveralpages of visualart.
Freeman (1997/1998) notes this advan-
tage in the context of learning"graphic
literacies"and other aspects of visual
and story skill developmentfor children
and adults.Therefore,concepts such
as sequencing, relationof storyto
characters(thematicallyandvisually),
and consistency of the character'slook
throughoutthe comic book are critically
important.
Artistsuse manydifferentskills to
make comic books thatcan can have
benefitsfor learningin general (e.g.,
computerprogramming).In addition,
using professionallyproducedcartoon
images can presentpossible careers
in comic artfor students.Valuable
resources on comic artcareers are
available,includingwriting(Haines,
1995)and illustration(Malloy,1993).
LessonPlan
Te accompanyinglesson plan-
titled'The StuffthatHeroes are Made
Of' -introduces the use of comic artin
the classroom.Withsome modifica-
tions, it can be used with all ages and
with limitedresources.Art and Man
(1984)also containsworkshop
instructionsfor using comic books in
the classroom,alongwith several
articlesthatlink comics to fine art.
Comicbooks can also be adaptedfor
opportunitiesfor teachers to workwith
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other adults.Using creativeproblem
solvingand art,comic books can be
createdthatrelateinformativeor
inspiringmessages. Examplescould
includepreparingflyers for student
activities;designing handoutsfor staff
meetings or conferences;and creating
portfoliosfor parentsto see their child's
work andprogress. Imaginethe possi-
bilitiesfor spicingup even the most
tedious administrativereportswith
cartoonsand comic images!
Cautions
Because of the popularity,variety,
andgraphiccontentof comic books, we
offerthe followingcautionsfor instruc-
tors as they choose comic art.Always
reviewanycomics before they are
broughtinto use in the class. Keep in
mindthe followingguidelines:
1.Avoidcomic artwith nudity,
inappropriatelanguage,swearing,
graphic/gory violence, and offensive
portrayalsof principal,teachers, or
othergroups knownto students.
2. Ifyou thinkthe principalor regular
classroomteacher might have a
problemwith comic books in school,
reviewwith them the materialsyou
have selected priorto meeting with
students.
3. Decide when you should bringin
comic artandwhen students can
bringtheir own examples.
4. Note thatthe artistwho drawsthe
cover maybe differentfromthe artist
who drewthe picturesfor the story
inside the comic book-identify all
artistsresponsiblein image creation
(ifit is possible foryou to determine
this).
5. Iflooking at historicalcartoonsthat
may be offensivetoday,describe
them in a propercontext (e.g.;"Inthe
past, some artistsused to do this, but
it is consideredoffensiveby many
today.")
 APPENDIX
I:SampleLessonPlanforTeachers
andTrainers
LessonPlan:
The Stuff Heroes Are Made Of: A Lesson in Figure
Drawing
This lesson introduces students to the basics of figure draw-
ing. Incartooning, "Everythingis based on how you draw the
characters: the heroes, villains, and the never-ending hordes
of supporting stars." (Lee & Buscema, 1978, p. 42)
needsandinterests:
Students'
Students need to:
1. Understand the myths and beliefs of various cultures.
2. Explore the creative possibilities cartooning has to offer.
3. Create things with their hands.
4. Explore and express their views of their self and the
world around them as related to their stage of artistic
development.
5. Develop a positive self-image and pride in their culture.
Preparation:
1. Materials-rulers, T-squares, etc.
2. Questions to promptthinking:What makes someone a
hero? Not just strength and super-powers-super villains
have these too!
3. Make blank books-fold in half and staple 2-4 sheets,
can use special glossy paper for cover.
4. Judging criteriafor comic books
a. At least a certain number of differentcharacters.
b. Use all pages
c. Follow directions
d. Flexibilityof judge-not only did students follow
directions but they were also creative
e. Completed on time.
f. Did in color-use all materials
Materials:Pencils,paper(12"by 18"),and markers.
(Comicbooks-reviewed by instructorpriorto class.)
SpecificObjectives:
Appreciation:Studentswilldevelop an awareness of figure
drawingby viewingand discussingclassicalexamples.
Perception: Studentswillperceiveimportantprinciplesof
proportion.
Conception: Studentswilldevelopan understandingof the
idea of figuredrawing.
Expression: Studentswillexpress theirpersonalideas by
creatinga super-herothatrelatesto theirlives and interests.
Integration:Studentswillreinforcereadingand speaking
skills(kidsstandand telltheirstories),as wellas historyand
culturelessons.
Skill:Studentswillsolve variousproblemsof figuredrawing.
Cleanup: Studentswillclean up and maintainand respect
tools and materials.
Student
andTeacher
Evaluations: Developa criticalawareness throughreviewof
drawingtechniquesandfinalcomics by variousstudents.
Timing:Allowtimeat the end of the class periodforcleanup
and evaluating.
Procedures: Createa characterthathas meaningforyou.
Thischaractercan looklikeyou or maybe a herofromyour
culture.Noticethatoftensuperheroeshave exaggerated
muscles, broadshoulders,etc. "Perhapsthe most important
single pointto rememberis thatyou shouldalwaysslightly
exaggeratethe heroicqualitiesof yourhero"(Lee &Buscema
1978, p.46). Aftercreatingyourhero,"Checkforaccurate
proportionsand correctangles of armsand legs so thata
person'spostureclearlycommunicatesa message"
(Hubbard&Zimmerman,1982, p.56)."Bodylanguage"is
anothermeans of communicatingfeelingsand emotions.
Thinkaboutvariousbodypositionsyou have observed,with-
out seeing a person'sface, andtryto rememberwhatthese
positionshave communicatedto you.
Time: 15 minutesfordiscussionand demonstration,10
minutesforworksheets, 35 minutesforwork,10 minutes
cleanup,5 minutesevaluation,5 minutesforoverlapinother
areas = 80 minutes.
LessonPlanBibliography:
Lee,S., &Buscema,J. (1978).HowtodrawcomicstheMarvelway.
NewYork:SimonandSchuster.
Hubbard, G.,&Zimmerman, E.(1982).Artstrands:
Aprogram of
artinstruction.
individualized ProspectHeights,IL:Waveland
Press,Inc.

6. Knowthe value of comics thatyou use a. Penciler-draws the original f. Story.

(throughpriceguides or conversation artwork. g. Layouts.
with knowledgeablecollectorsand b. Inker-goes over pencilartand h. Finisher.
sellers)-try to use low cost materials adds shadows/crosshatches. i. Lettering.
(Manycomic stores have low cost c. Colorartist-adds color in artwork. j. Chief/producer/publisher.
comic bins.) d. Createdby-who thought of the k. Editor.
7. Learnaboutdifferenttypes of comic concept for the comic.
artists: e. Writers/editors.

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Jay Berkowitzis a teacher,poet and
cartoonistin Cleveland,Ohio.As an
independentconsultant,ToddPacker
providesresearch,writing,and training
in creativeproblemsolvingand cross-
culturalcommunicationfor universities,
professionalassociations,and other
organizations.
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