UPDATE:This one may take a bit to load.
Last edited by EddieChingLives; 04-18-2011 at 10:50 PM.
Let's rant about:
Divide a page up into a whole bunch of narrow squishy panels and sketch around with the extra or limited space you get. It's good practice, because you never know when you need to add a panel into your page that won't normally fit. Plus, a narrow panel can free up room on a page for the bigger shots to be more effective.
These panels are also useful for a quick establishing shot. Like a skyline or something. So let's not underestimate the power of the squishy panel.
Liefeld, McFarlane, and Larsen are just a few who use these panels very often. So if you got any books by them, look for them and see how they use them.
And Sergio Argones uses this very effectively when he sketches those little toons on the borders of mad magazine pages.
The tall narrow panels are especially effective to show the hight of buildings or cliffs.
By the way, let me know if this page take a long time to load, so I can change some images to links to keep this a descent thread load time.
And thanks for all of you guys for clicking on this. I still got more. And if anyone else has a good tip to share for this thread, go for it. Put it here, or start your own thread. This is just information that I've gathered. I'm sure I don't know everything.
Last edited by EddieChingLives; 04-20-2011 at 09:49 PM.
Good point, though it would seem that if you thumb your pages out cleanly, you can avoid situations that require you to draw extra panels unexpectedly.
It's always a good idea to practice drawing panels that are restricted to confined spaces though, because sooner or later it WILL come up.
My next chapter will be about The power of THE FLOW.
Ok. Unless we're reading some authentic (non-mirrored) Manga, usually we read from left to right. So that means you have to draw from left to right. The paths that the characters take must move from left to right.
But there are exceptions. End panels, panels on the right such as panel 3,4,and 7, you can change the angle and lead the viewers eye back to the left. So these end panels let you break that rule!!! Either way works with those panels.
Here I did a quick chase scene to show how you can align the characters path movements to the reader's eye flow.
Last edited by EddieChingLives; 10-29-2003 at 10:07 AM.
Now let's talk about character sheets.
This is very helpful in keeping your characters consistant. Some people draw all sorts of facial expressions, but let's just start with the basic. A front view, and a side view.
I remember marvel had three hole punched character sheets they use to sell. And in HOW TO DRAW THE MARVEL WAY, Mr. Fantastic, and Invisible Woman were drawn this way. It's good to do your own versions, so you can adapt your drawing ability (or"style"if you will) to the characters.
Also, I found it much easier when you draw part of the front view, and part of the side view, then keep switching back and forth. I did an animated gif to give you an idea of what I'm babbling about.
(linked to save download time)
Ok. This really has nothing to do with storytelling, but it's still good to know. This chart shows how emotion can be created just mixing different eyes with different mouths.
The first are just two dots for eyes. So it doesn't really add too much when you mix that with all the mouths.
But when angry eyes mixed with a:
SMILE-you get an evil grin.
FROWN-you get a typical angry face.
BIG SMILE-you get an evil grin.
GRITTING TEETH-you get someone who's P.O.ed
OPEN MOUTH-you get an angry yell.
When squinty eyes are mixed with a:
SMILE-sucking on a lemon never tasted so good.
FROWN-He's holding in some nager.
BIG SMILE-Evil laughing again.
GRITTING TEETH-This man's in some serious pain.
OPEN MOUTH-He's crying.
When wide open eyes are mixed with a:
SMILE-You get a nervous smile. How most guys look at pretty girls.
FROWN-He's holding emotion back. Someone just told him he's got six months to live.
BIG SMILE-Very happy. Almost psychotic.
GRITTING TEETH-That's sick. The face I remember most kids having in biology class.
OPEN MOUTH-"That's sick" to the next level.
When tired eyes are mixed with a:
SMILE-This guy just woke up next to a super model.
FROWN-Jaba the hut face. He woke up on the wrong side of the bed and is cranky now.
BIG SMILE-Tired, but watching some funny television. The eleventh hour of a Twighlight Zone marathon perhaps.
GRITTING TEETH-He's trying to smile, even though he's not in the mood.
OPEN MOUTH-Yaaaaaaaaaaaahn. Makes me yahn every time I look at this face.
When worried eyes are mixed with a:
SMILE-He's in love.
FROWN-But she has a boyfriend.
BIG SMILE-There's pleanty of other fish in the sea. (Yeah right)
GRITTING TEETH-But that was his fish!
OPEN MOUTH-He shouldn't have reheated that sushi. I think he's gonna hurl!!!
Anyways, I hope this helps someone out. If not, well at least it entertained me. I'll just keep watching those views wrack up as I find more tips for you guys.
Last edited by EddieChingLives; 04-18-2011 at 10:53 PM.
WOW! this is really a great thread. I was trying to think of something to add but I can't because everything has been covered. I don't know if this has been mentioned but keeping the object of the panel away from the center can be pretty important, but it can also be broken evry once in a blue moon for added effect. Here is an example:
I centered the object in the first panel to give it a movie scene effect. This is the moment we reveal who the president is and having him look you dead in the eye worked well i think.
Also, someone mentioned Sergio Aragones. On a note related to this topic I asked Mr. Aragones how he was able to incorporate such an incredible amount of detal (like the background characters), He said he skips around all over the place doing them a little at a time.
One more thing. That Wally Wood 22 Panels is great! Thanks for listing the link
Thanks for replying, Dustin. And your lesson is an important reminder to everyone reading this. EVERY RULE CAN BE BROKEN, as long as everything is clear and easy to understand.
Sergio is amazing how he can tell so much of a story without using any words in Mad Magazine. And he's extremely fast at it too.
Also, thanks for posting your own chapter. I think anyone who wants to expand or add anything should feel free to.