Transcript for Who’s Art Nouveau?

Page 1

Panel 1:
Liz, Francisco, Jasmyn, and A.J. are seated at a round table.
A title card reads, “The Researchers were meeting in Carman Cafeteria, as usual…”
Francisco: “This design class is kicking my butt! I mean, I’m really trying to do my best in it, cause the professor said he could get me an internship if I do well.”

Panel 2:
Close up on Liz, Francsico, and Jasmyn.
Liz: “What’s wrong? I thought you loved it.”
Jasmyn: “You’re a great artist, I’m sure you’re blowing him away.”

Panel 3:
Close up on Francisco.
Francisco: “I dunno. He gave us this assignment to do a poster that’s influenced by Art Nouveau…”

Panel 4:
Close up on A.J., who is wide-eyed.
A.J.: “Who’s ‘Art Nuvo’?”

Panel 5:
Close up on all four friends. Liz is startled and Jasmyn looks disapproving.
Francisco: “Not who, what! It’s a style. And it’s spelled ‘Nouveau.'”

End of page.

Page 2

Panel 1:
Close up on Liz, Francisco, and Jasmyn. Liz giggles. Jasmyn speaks to Francisco, who looks worried.
Jasmyn: “So what’s the problem?”

Panel 2:
Close up on Francisco.
Francisco: “Well, I Googled it, found some good images, and based mine on those…”

Panel 3:
Three students are  seated in front of three computers. On their screens is the same image–an Art Nouveau poster depicting a woman with long, flowing hair, an intricate border design, and the word “Job.”
Francisco: “…But then as I was leaving class, I looked at everyone else’s screens and they all did basically the same thing. We were all looking at the same pictures!”

Panel 4:
Liz and Francisco. Francisco’s head rests on his hand.
Liz: “So you’re afraid yours won’t stand out?”
Francisco: “It definitely won’t, Liz!”

Panel 5:
Liz stands and puts her hand on Francisco’s shoulder. He looks more hopeful.
Liz: “Why don’t we go to the library and look at some books or something? It might give you some ideas.”
Francisco: “It’s worth a try, I guess.”

End of page.

Page 3

Panel 1:
A gray and brown toned sign reading: “Leonard Lief Library.” It looks much like the color and style of the building.

Panel 2:
A title card reads: “Later that afternoon…” Liz and Francisco are seated on a bench on the second floor of the library. Francsico is sprawled out with a book propped in front of him. Liz reads as well.
Liz: “Getting any ideas?”
Francisco: “There’s so much here–I’m almost getting too many ideas…”

Panel 3:
Close on Liz and Francisco
Francisco: “I don’t know what to do!”

Panel 4
Francisco: “Plus, I’m really sleepy. I was up late watching my nephew.”
Liz: “You’re going to fall asleep like that.”

End of page

Page 4

Panel 1:
Very close on Francisco, who’s eyes are closing.
Francisco: “No, I’m…not…”

Panel 2:
Francisco’s eyes are closed, his head resting on his arms. He is superimposed over a series of Art Nouveau images.

Panel 3:
Now Francisco is completely asleep. Behind him is another icon of Art Nouveau art: a sign from the Paris Metro (subway).

Panel 4:
A complete transformation! Francisco, his back to us, enters a full-panel image of early twentieth-century Paris, complete with horse-drawn carriages, street lamps, and old buildings. In the foreground is an ornate green metal structure–an entrance to a subway station–with a sign that reads “Metropolitan.” A man with wild hair, a beard, and a somewhat rumpled suit stands at the entrance to the station.
The Strange Man: “Bonjour! Comment t’allez vous, Monsieur?”
Francisco: “WOAH! What happened to the D train?”

End of page

Page 5

Panel 1:
Francisco pulls himself up to stand.
Francisco: “Who are you?”

Panel 2:
Close up on The Strange Man, with the subway entrance behind him.
The Strange Man: “I am Hector Guimard, the designer of these iconic entrances to the Paris subway–landmark works of Art Nouveau! Who are YOU?”

Panel 3:
Close up on Francisco, who looks very confused.
Francisco: “Uh…Francisco Morillo. Lehman College student…”

Panel 4:
Hector Guimard and Francisco face each other.
Guimard: “And…what are you doing here?”
Francisco: “Well, uh, I’m doing research on Art Nouveau. I’m supposed to make a poster.”
Guimard: “Tres bien! Very good!”

Panel 5:
Guimard: “I helped to start Art Nouveau!”
Francisco is delighted. He says, “WOW!”

Panel 6:
Close up on Guimard. He raises his index finger.
Guimard: “Art Nouveau is a big topic! You’re going to need to focus a bit. I can help you refine your research. Do you know anything about Art Nouveau?”

Panel 7:
Close on Francisco, who scratches his head and looks sheepish.
Francisco: “Uh…no really.”

Panel 8:
Guimard, in close up, is not amused.
Guimard: “How do you expect to design a poster when you know nothing about your topic?”

End of page

Page 6

Panel 1:
A close up of the decorative top of the subway entrance. It has spokes that radiate out, rather like a large, metal fan. On top of the structure is a small red bird.
Guimard speaks from out of the panel: “You must get background knowledge. An encyclopedia article would tell you that the entrances I designed for the Paris subway combined new technologies like steel with designs inspired by nature to create something utterly new!”
Small Red Bird: “Cool”
Francisco also speaks from beyond the panel: “Paris? Wait–I’m in France?”

Panel 2:
Guimard heads into the subway station. Francisco follows, confused and glancing hesitantly over his shoulder.
Guimard: “Bien sur! But not for long, Monsieur Francisco. Follow me!”

Panel 3:
Guimard leads Francisco onto an old-fashioned subway car.
Guimard: “Destination: Bruxelles, Belgium. That’s Brussels to you.”
Francisco: “Oh, okay. Wait–BELGIUM?”

Panel 4:
A sign for another ornate subway station entrance. The sign says “Tassel House.”

Panel 5:
Francisco, Guimard, and the Red Bird emerge from the station. Both men look apprehensive.
Guimard: “Bruxelles, the capital of Belgium.”

Panel 6:
This panel is twice the height of a normal panel, the better to depict a very ornate interior. A long, open staircase dominates the scene. The wall behind it is ombré–meaning that it’s color changes slowly from blood orange to light gold. Along the wall are brownish lines that resemble vines, twisting and curving randomly. Curled on the bottom step is a cute white dog, barely noticeable.
In the foreground, with their backs to us, stand Guimard and Francisco. The latter has his hands on his head in shock.
Guimard: “You stand inside the Hotel Tassel.”
Francisco: “That train took us all the way to Brussels?”
Guimard: “It is a very unusual train.”
Francisco: “And this is a very unusual house.”

End of page

Page 7

Panel 1:
Guimard and Francisco are speaking.
Francisco: “No…”
Guimard: “But this is the easiest thing you can do to begin to understand a topic!”

Panel 2:
View of the metal scroll-work on the banister of the staircase.
Guimard speaks from out of frame: “Ask yourself: Who? What? When? Where? Why?”

Panel 3:
View of the underside of the stairs, including a column capital resembling a tree or vine.
Guimard speaks from out of frame: “Art Nouveau began in this house, which was meant to be a refuge from the hurly-burly of a growing city.”

Panel 4:
View of the stairs, with the ombré wall Francisco gestures to the curling vines painted on the wall. The small dog sits up and gazes at him.
Francisco: “Is that why it’s got all these curvy vines? To look more natural?”
Cute White Dog: “Exactement!”

Panel 5:
Francisco and Guimard are speaking.
Francisco: “Everything seems to match–even the furniture and the doorknobs. Who designed this?”
Guimard: “The architect was Victor Horta. Perhaps, you might read an encyclopedia article on him and ask yourself a few who, what, when, where, and why questions in the process.”

Panel 6:
Francisco, Guimard, and the Cute White Dog walk along a Brussels street. A subway entrance is just visible. The Small Red Bird is perched on top of it.
Francisco: “Where are we going now?”
Guimard: “We must move on!”

Panel 7:
Another subway sign–this one says “Vienna.”

Panel 8:
Francisco, Guimard, and the animals emerge from the subway.
Guimard: “To Vienna, Austria.”

End of page

Page 8

Panel 1:
Guimard and Francisco stand inside an artist’s studio. Two paintings stand on easels and Francisco studies one carefully, his hand on his head.
Guimard: “The studio of Gustav Klimt!”

Panel 2:
Close up on Francisco, who stands next to one of the paintings. It is a portrait of a woman, but her clothing and the background blend into each other. Both consist of highly decorative geometric shapes, mostly squares, and many of them gold. The  painting resembles a mosaic made of tiny gilt tiles.
Francisco: “I’ve seen these paintings before. They look so different from your Metro entrances and from the Tassel House.”

Panel 3:
Guimard now stands next to Francisco.
Guimard: “So you must ask yourself, ‘How are these things related?'”
Francisco, gesturing at the painting, says, “Well, they’re all very decorative. They have nice colors, too.”

Panel 4:
Francisco: “And even though this one has some geometric shapes, it’s also very curvy.”
Guimard: “Tres bien! Now you know a little more about Art Nouveau, because you drew a comparison.”

Panel 5:
A man in a smock, carrying a cat and dotted with paint, stands next to Guimard and Francisco. It is Gustav Klimt.
Gustav Klimt: “But I am of the Vienna Secession! And these paintings are inspired by the glittering, fragmented gold designs of Byzantine mosaics!”
Guimard: “A good point, Gustav.”

Panel 6:
Guimard and Francisco are speaking.
Guimard: “Remember to contrast things, too. You can learn as much from differences as from similarities, especially with such a diverse style as Art Nouveau. Now follow me!”

End of page

Page 9

Panel 1:
Francisco and Guimard stroll down the path, outside of Klimt’s studio. The Cute White Dog and Small Red Bird wait at the edge of the frame, near another subway entrance. Klimt’s Cat saunters down the path after them.
Francisco: “Where now?”
Guimard: “New York City!”
Francisco: “Home so soon?”
Guimard: “Not exactly…”

Panel 2:
A subway sign reads “New York City.” Above the sign, Klimt’s Cat frightens the Small Red Bird.

Panel 3:
Francisco and Guimard climb the subway steps onto the street.
Francisco: “Woahh…everything’s so old school!”

Panel 4:
Francisco and Guimard stand inside of a huge black-and-white image of a work space. Men in smocks and old fashioned clothing stand around large work tables. In the foreground there are windos with small square panes of glass. Also in the foreground, dressed in a men’s shirt, tie, and smock, are Liz and A.J. Along with two blue lamps, they are the only things in color in the image, besides Francisco and Guimard.
Guimard: “It is New York, circa 1900, and we are in the studio of Louis Comfort Tiffany.”
Francisco: “Like ‘Breakfast at Tiffany’s’?”
Guimard: “No. Like Tiffany Glass. Tiffany and his studio revolutionaized stained glass, experimenting with new materials and techniques. The vivid colors you see are the result.”

Panel 5:
Francisco examines one of the blue lamps. The lamp shade is decorated with many small panels of glass of varying shades of blue. The wings and heads of dragonflies form a border along the bottom of the lampshade. The lamp’s base resembles a tree trunk or a vine.
Francisco: “Wow. I’ve seen stuff like this in stores all over the place.”

Panel 6:
A detail of the lampshade, showing the many tiny pieces of glass that formed the dragonflies’ wings.

End of page

Page 10

Panel 1:
Liz and A.J. are examining plans and a pane of glass, respectively. Francisco speaks, but is not seen.
Francisco: “It’s funny–these artists are using advanced technology, but their art is really into nature. It’s like they both love modern stuff and hate it.”

Panel 2:
Close up of Guimard.
Guimard: “Very interesting, Francisco. Do you know what you just did? You took a perspective on your topic. You’re using the things you’ve learned to focus on something you’re interested in. You could do more research on that specific topic.”

Panel 3:
Francisco and Guimard are speaking.
Francisco: “I guess i could find out what technologies these artists used, and how they felt about them. It sort of makes sense to research technology for my poster, because it’s about the library.”

Panel 4:
Francisco and Guimard, still speaking.
Guimard: “Pardon? What does the library have to do with technology?”
Francisco: “Well, libraries have changed a lot since 1900. They’ve got computers and iPads now.”
Guimard: “What is this iPad you speak of?”

Panel 5:
Francisco and Guimard speaking. Behind them A.J. is seen, lifting a pane of glass.
Francisco: “It’s this thing that’s sort of like a laptop, only…”

Panel 6:
A.J. peers through the glass, his face distorted and silly-looking.
Francisco, speaking from outside the panel, says, “…ah…wait a second…A.J.??”

End of page

Page 11

Panel 1:
Liz and A.J., still in their smocks and ties, stand on the workshop floor. Francisco stares at them, alarmed.
A.J., peering through the glass at Liz, says, “Hey, check this out.”
Liz, shouting to Francisco: “You gotta get out of here, Francisco! You’re gonna be late!”
Francisco: “Liz? You’re here, too?”

Panel 2:
A hand grasps Francisco by the shoulder, as he jerks up onto his hands. His face is surprised and someone calls out his name.

Panel 3:
Liz and Francisco, seated on the bench in the library. She holds his shoulder and he stares at his cell phone, surprised.
Liz: “You fell asleep! You’re gonna be late to watch your nephew!”
Francisco: “What? Oh, no!”

Panel 3:
Francisco and Liz. He stands, holding a book and smiling.
Francisco: “I was having this amazing dream. Everything I was reading about just fit together.”

Panel 4:
Francisco walks away from Liz, who waves goodbye.
Francisco: “I’ve got it all figured out! I gotta check these books out. Catch ya later, Liz!”
Liz: “Good luck, Francisco!”

Panel 5:
A title card reads, “A few weeks later…”

End of page

Page 12

Panel 1:
Francisco and Liz, Jasmyn, and A.J. outside of the Leonard Lief Library.
Francisco: “So I went home and read the books and encyclopedia articles, and I looked really closely at the images, and it all came together! It was just like Guimard said: get background knowledge; ask who, what, when, where, and why; compare and contrast; and take a perspective.”

Panel 2:
The friends enter the library, showing their CUNY ID cards to the security guard. Francisco is ahead, smiling.
Francisco: “There it is!”

Panel 3:
The four friends look at Francisco’s poster, which hangs on the wall of the library. Guimard passes behind them.
Francisco: “Presenting Art Nouveau: The Poster!”
Jasmyn: “Wow, it looks great!”
A.J.: “Whoa…”
Liz: “Yeah, congratulations!”
Guimard: “Tres bien Monsieur Morillo!”

Panel 4:
Francisco, surprised, looks toward where Guimard was. He raises his hand to wave but a question mark hangs above him.
Francisco: “Thanks, Guimard!”

Panel 5:
A close up of Francisco’s poster. A young woman with dark skin and flowing black hair stands at the center of an abstract design resembling a stained glass window. Behind this structure, faintly, the outlines of one of Lehman’s buildings is visible as well as a clear blue sky. Winding around the poster are green vines in curving designs. The woman holds a stack of books in one hand and an iPad in the other, and she wears headphones that are connected to the iPad. Above her is the word “Study” and below her are the words “Fin,” meaning “The End.”

End of comic

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