As they attempt to save the marriage of one of their listeners, Brad and Dave consider the best path for a cartoonist who wishes to pursue a master's degree. Would a Master's in Fine Arts be the right choice, or would a Master's in Business Administration be the better option? Considering the expense, perhaps the best choice is to avoid both! After grappling with that dilemma, Susan MacTaggart stops by to share a personal affirmation with a member of the ComicLab community.

Today's Show

• Is a Master's Degree in comics worthwhile?
• Susan MacTaggart's Affirmation
• UPDATE: Brad and Dave's Wikipedia pages
• Mixing word-balloon styles

Summary

In this episode, the hosts discuss the importance of education for cartoonists, debating the merits of pursuing a Master's in Fine Arts (MFA) versus a Master's in Business Administration (MBA). The discussion highlights the value of writing skills in comics and the necessity of understanding business principles in today's publishing climate. In this episode, the hosts delve into the intersection of art and marketing, discussing the value of formal education, such as an MFA, in developing a creative career. They explore the importance of self-teaching versus structured learning, emphasizing personal growth and the impact of higher education on career paths. The conversation also touches on community engagement through personal affirmations and mid-show updates, culminating in discussing word balloon techniques in comics. In this episode, Brad Guigar and Dave Kellett delve into the intricacies of comic storytelling, focusing on the use of word balloons and their aesthetic implications. They discuss the evolution of comic communication, the philosophy behind how comics convey messages, and the unique structure of two-panel comics. The conversation highlights the balance between visual elements and text, exploring how these components enhance storytelling in comics.

Takeaways

• Education in the arts should focus on writing, not just drawing.
• An MFA may not provide the specific skills needed for comics compared to an MBA.
• Understanding business and marketing is crucial for independent cartoonists today.
• Higher education can provide a shortcut to knowledge that would take years to learn otherwise.
• Not all education needs to have a direct financial return on investment.
• The subjective nature of art can complicate grading in MFA programs.
• Scholarships can help alleviate the financial burden of higher education.
• Choosing between an MFA and an MBA depends on personal career goals and interests. The art itself is not enough; marketing plays a crucial role.
• An MFA can provide valuable insights into salesmanship and marketing.
• The experience gained from an MFA depends on the student's openness to feedback.
• Many successful cartoonists do not have an MFA, indicating it's not essential for success.
• Self-teaching can be as effective as formal education, depending on the individual's learning style.
• Personal growth and happiness can come from pursuing higher education, even if it doesn't directly impact career success.
• Community engagement is vital for creators, as seen in the personal affirmations segment.
• Word balloon techniques vary based on the comic's style and background complexity.
• The hosts share humorous anecdotes about their Wikipedia pages, highlighting the challenges of self-presentation.
• The conversation emphasizes the importance of adapting techniques to fit the evolving art style. Word balloons can affect the aesthetics of a comic.
• Using a floater can conserve space in a panel.
• Breaking up dialogue into multiple balloons improves readability.
• Floaters can convey whispers or asides effectively.
• Aesthetics sometimes dictate the choice between word balloons and floaters.
• The history of word balloons reflects the evolution of comic art.
• Comics often rely on a visual punchline that follows a setup.
• Two-panel comics can exist in greeting cards and other formats.
• The construction of comics can influence how they are perceived.
• The philosophy of comic communication is complex and evolving.

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Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. Dave Kellett is the creator of Sheldon and Drive.