A LETTER FROM MS. MARTIN



I received a letter from a Ms. Stacie Martin, Math Department Chair of Rogers middle School in St. Louis Missouri, asking a very fair question,

"I am interested in learning more about your presentation as it applies to the 8th grade math classroom".

This was my response:

Interesting that you ask how this applies to the 8th grade. In fact, these presentations are more popular at that grade level than any other school grade level. I fondly remember at that age that superheroes were such a large part of my life. I totally immersed myself in that popular genre. It was also at that age that I was fully convinced that there was a huge gulf between mathematics and art. It was much later in life that I learned to value math given that so much of my discipline requires the application of simple math and the close cousin to it, linear perspective. Admittedly, I will not be delving into calculus, differential equations and such, although these dimensions are inherent within any art work as much as anything else, but instead I will be focusing on fractions, simple geometry, and even a simple algebraic equation similar to a ratio or proportion equation. These are simple concepts that most 8th graders can grasp and I am convinced when students learn  how math plays an integral part in the things they love, such as comics, they are more inclined to take a second look at the subject they are so often afraid of or are just simply not interested in. When I get up on the board and use my "1/2 method" to determine where features are placed on the human head and students literally see a convincing drawing of a superhero materialize right before their eyes, well, they can see first-hand how abstract concept equates into practical reality. This lends great value to mathematics and to any field of endeavor. I can tell you this, I love art so much that if I could have been convinced at a younger age that good draftsmanship implies good application of mathematics, I would have paid much closer attention to my math classes.



This is what a preliminary rough concept sketch looks like before finish.

Go to the Art and Portfolio/Publications links to see finished work.

As students are already familiar with the X-Men and the other comic book characters I have illustrated, they carry with them a curiosity about superheroes long before I enter the classroom. And that is why both educational substance and sensational entertainment come together in this unique presentation.

This presentation does not inspire chaos in the classroom and the teacher will always maintain discipline as students typically present with an intense curiosity about how the popular characters they have grown to know and love are actually made. Students will also discover that the many lessons their art teacher gives to them over the course of a semester are not only applicable to the creation of a drawing or a painting, but are indeed fundamental to the making of a comic book.

Art students interested in furthering their art education will find that university art programs are progressively becoming more interdisciplinary in their philosophy and content. This sort of art education addresses the community's need for art to be more useful, practical, and "real" in its cummunal service applications.

With comics, many disciplines and core subjects merge with art. For example, the comic artist must understand human musculature and articulations no more, no less than the medical illustrator in regards to its superficial characteristics. Here, science and art seamlessly blend. The comic artist must also understand linear perspective. It is a mathematical topic that scares many students but, in order to draw comics, it is a subject that must be learned. The most obvious interdisciplinary aspect to comic art is the coupling of both the written word and accompanying visuals. This is why comic art is referred to as Sequential/Visual Narrative.

A less obvious partner in the making of a comic is the subject of history. At present, Jerry deCaire is illustrating a Charles Knauff/Moonstone venture entitled "The Heap" and its setting is during the periods of WW I and WW II. DeCaire has even worked on a 19th century piece and in either case the historical research required can be staggering.

Public schools are more and more emphasizing teamwork and social corroboration amongst peers, as these traits are necessary for success in virtually any field. From written story to complementary visuals to computer coloring, lettering, editing, print preparation, print production, and finally distribution and retail sales, comics are never created by one person. The making of a comic requires contributions from writers, artists, editors, publishers, art directors, print technicians and many other professionals.

I firmly believe that if comics were the only subject mastered by students, they would genuinely receive a very thorough education.
-Jerry deCaire

I am always open for requests. If a student, for example, asks for a Batman drawing, I will then, step-by-step, render Batman utilizing my trademark mathematical approach. I will talk and educate while drawing at the same time. Every step will be explained and every move of the pencil will be attributed its logical intent. No stone will be left unturned as the students sit mesmerized and amazement quickly turns into understanding. 
 
What was once thought to be a magical venture reserved only for the "talented" becomes accessible to all.