2. What should the artist be able to produce?
(a) Speedy replicas.
(b) Flawless images.
(c) Minute details.
(d) Recognizable imagery.

3. What kind of comics are generally entertainment-oriented?
(a) Fairy tales and dailies.
(b) Periodical comics and graphic novels.
(c) Stickers and graphic novels.
(d) Comic books and warning labels.

4. How big is the simplified script when determining an agreement between artist and writer?
(a) Sixty inches.
(b) Two pages.
(c) Twenty pages.
(d) Half a page.

5. What kind of movements flow together over short periods?
(a) Extremely large gestures.
(b) Extremely subtle movements.
(c) Extremely graphic flashes.
(d) Broad, gestural sketches.

Short Answer Questions

1. What is often predetermined by the nature of the story?

2. What kind of printing never became widespread in comic printing.

3. What must convey both time and emotion, according to Chapter 5?

4. What does Eisner wish artists to know about shadow?

5. What dominates the reader's initial response?

Short Essay Questions

1. Name four of the eleven points Eisner covers, because he thinks an artist must understand about how objects work in order to portray them skillfully.

2. Why should an artist read short stories?

3. Give a brief synopsis of Chapter 6.

4. Why are comic book artists frequently hired to produce storyboards for movie scripts and motion pictures?

5. Why does artwork dominate the reader's initial response?

6. Explain the goal of "Body language".

7. Why does Eisner reproduce the story written by Jules Feiffer that was never published?

8. Why do people make important daily judgments about faces?

9. Why is writing for comics most closely related to playwriting?

10. Contrast gesture and posture.

(see the answer keys)

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