Storytelling 101

[EddieChingLives]

http://aftershock.250free.com/bushes.jpg

Ok. Here's another crappy example, but hopefully it helps illustrate the importants of how:

PLANTS LIVEN UP A ROOM

It's true what people say. That's why so many offices have plants, and why people bring flowers to people. It just adds to it.

So when your drawing the outside, draw a bush or some palm trees or pine trees. When indoors, draw a plant in a pot. Just to liven things up.

I know plants are boring, but it is something to think about. I promise I'll have something more exciting to talk about for next time.

[EddieChingLives]

Sorry for the lack of updates. I've been bizy with my DAYJOB as a truck driver, which doesn't leave me with a lot of online time.

But here's some more tips I think might help the average sketcher help improve their finished art.
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When you draw your sketches, draw a frame around your characters. You can draw the frame before you start a drawing or after. But either one can help you see how to setup a frame. How you can arrange things to surround your frame. And also, framing lets you draw things that run off the frame. Which means you don't have to draw so much and let's you get away with it more. So put those boxes around those sketches.

Also, when you are done with a sketch, look it over, and think of something clever for the character to say. Then, give him a letter balloon and a caption. This will help you practice lettering. You don't have to just do balloons, you can also do a caption box like Los Vegas, NV 2029.

This way, you can practice both lettering and how to fill a panel.

And don't forget the art of blacking out and tones. This helps complete the drawing and give it that finished look. Blacking out especially. Try to pick out how much is blacked out from your favorite comic books or comic strips. You'd be suprised. I allways black out a drop shadow, their hair, or either the pants or the t-shirt of my characters. One, not both, because I want that black n white contrast. And I usually black out a background object, such as bushes or a silouette of a palm tree or a telephone pole.

Check out this example:
http://www.scottmccloud.com/comics/mi/mi-23/mi-23.html
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So there's some tips for ya' guys that might help you when it comes to looking at a blank page. Turn those doodles into finished art. Do some doodles in a sequence, such as the zoom in or out in the next panel, and voila. You turned a sketch into sequential art.

Keep those pencils, pens, mice, and tabs moving and keep cranking out your artwork and picking apart the comics you read. I draw wherever I go. I buy lots of Papermate pens (10 for 90cents) and bring a small sketchpad or find a napkin to draw on. Drawing what I see around me has helped me so much with backgrounds.

So keep drawing people!!! Build those portfolios! Build those resumes! Write and Create those short stories! Keep sending those Submissions! And keep practicing on sample scripts or writing your own!

[Ian Miller]

Thanks for the tips, Eddie. I remember you telling me about these a while ago.

And it's nice to see you back! I was beginning to wonder where you were.

[EddieChingLives]

It's rare for me to post anymore. Considdering I have to work for 2 weeks to get 2 days off.

I guess I'm being redundant with my tips, but even though I sound like a broken record, it's still sound advice.

[EddieChingLives]

I posted this elsewhere... but maybe it can serve some purpose here.

http://aftershock.250free.com/DrawingComics.swf

This is a flash animation illustrating some more examples of what I've talked about before. I hope you enjoy.

[KaRzA]

Very nice tut... thanks

[EddieChingLives]

http://aftershock.250free.com/comicbookstudiespart2.swf

Ok. Here's tips on comic book panel setups. I know it's not exciting stuff, but it's good stuff. I threw in a little gag-comic to spice it up a little. And for some of you who look at the surface of the art quality and brush it off as just crap and think I don't know what I'm talking about, that's ok. But try to look behind the surface. Try to think about "the theory behind the crap".

And thanks for the reply, KaRzA.

Author(don't laugh)'s note:
I really don't consitter myself to be a know-it-all expert. There's way better critics on PJ that know more that me. I'm just trying to share the few tips that I think about whenever I make comics. I'm sure for some of you, this isn't new stuff. But for some, (my target demographic) it is. I hope you enjoy.

I know it doesn't seem like a lot, but it takes me a while to do this flash stuff.

[dillinger]

I have to say that this is amazing! This is the best stuff that I have ever read about sequential story telling. If you are interested, here is a link to a 6 page story that I am writing. I haven't recieved any feedback on it, but would be interested on your opinion on it.

Tattoo Part 1

Thanks for at least possibly taking a look at it.

[EddieChingLives]

Unfortunately, I'm a trucker. So I don't have a lot of time right now. But when I do get the chance to check it out, I definately will.

Thanks again for the HUGE compliment. It was worth it all just to see that. Thanks.

[EddieChingLives]

Ok. Anyone cliciking on this for an art example, I'm sorry.

But doing a few replies to the Storytelling section, I've kind of catagorized how I look at things. And that might be something to keep in mind when you are analizing your work, or others online.

CONSISTANCY-Do the characters look the same in every panel. If not, the artist prolly didn't draw the characters that much and might help if they did character sheets.

CLARITY-Can you tell what you're looking at? How long does it take most people?

SMOOTH TRANSITIONS-Can you tell what the next panel is? Is the 180 degree rule broken?

ESTABLISHING SHOTS-These are important. They don't even have to be outside shots. Just some shot establishing the scene. Showing the spacial relationships between the characters. This helps so when you cut to the next panel, it's easy for the readers to tell where you moved the camera.

BACKGROUNDS-Some people aviod this. But it's not that hard. It's basically throwing in props to show your surroundings. Look up reference online. Sketch on anything you can wherever you go, so you can get use to drawing the shorthand of objects. And think about paths such as sidewalk, hallways, and streets and stairs. Or doorways and windows. Tables. Chairs. Throw-rugs.

USE OF BLACKS-It's amazing how blacking out or toning things can make things pop-out. Drop-shadow, hair, pants, shirts, shoes, plants, telephone poles, sky-lines. Think of blacking out like blacking out a ying-yang sign. You gotta have the right mix to balance the page.

If there's something I missed, which is highly likely, let me know. But this is the jist of what I look at. I'm not sure how different this is from ACTUAL editors who look at submissions, but it's better than "cool" or "sucks".