Outlander00
06-11-2003, 09:56 PM
Hey everyone! Welcome to another installment of the revamped Workshops, where those who want to learn to be an artist can and those who are artists can get better. This will be an ongoing series of various topics put out 1 – 3 times per month where various issues in art can be covered. Critiques and comments are welcomed and encouraged around here… It is part of the process of how artists get better.
However, there is a certain amount of expectation when it comes to critiques. When making comments like “cool” and “awesome” by themselves are great and all, but doesn’t forward the critique process that much nor helps the artist. We are looking for comments that’ll help the artists progress, like “That's great, but I think you should re-do his leg” or “Nice pencils, but your proportions are a bit weird”… Stuff like that.
Not only do we want to see critiques, we'd like to see answers and tips too in here. Having problems with a pose that you can get just right? Drop a line and someone will get back to you. This place is yours to get feedback, tips, and info to help you become that much better in your art! J
Enough of the small talk… Lets get to the Workshop, shall we? J
This installment is on Sequential art!
Sequential art is, quite possibly, the most crucial aspect of all the graphic arts… Yet, it is the least respected in the art community. It is important because, otherwise, your favorite TV shows, movies, and animated series would not be successful as they are. Also, we would not have certain things such as comic books, graphic novels, and cartoon strips. Sequential art is an important aspect when it comes to media because it directs how a scene is shot, very similar to how comic artists tell the written word visually.
However, it is not an aspect that is easy. It can be honestly said that Sequential Art is the hardest of all of the graphic arts out there today, but is also the most fun and rewarding. It is fun to tell a story your way despite the process behind it. Not only do you need to draw in a way that communicates, but also have the ability to tell a story, page design, and do it all in a way that is eye catching and that makes sense.
Whether doing a story board or a comic page, one must need to keep few of these points in mind:
Planning
ANY page of comic art or a scene for a movie needs to have a good amount of planning behind it for it to work at all. It is quintessential for any part of sequential art work.
Script –
Page 1:
Setting: There's a thunderstorm hammering Gotham, and it's generally a dismal, crappy night. Always a perfect night for **** to go wrong.
There's a shot of lightning; that may travel behind the other panels. Think The Dark Knight Returns. Maybe a gradual close of a Gotham church, or something with a sort of gothic ambience about it. Then, there's a close up of a slanted roof, the dome of a church or a bell-tower, preferably.
Lightning then flashes, illuminating a large, freakish creature with wings and a tail. Its angles are very sharp and jagged, small barbs sticking off its tail. It's clawing up the side of the building. Seconds later, the light diminishes, and you only see the end of the tail going off screen.
http://drawingboard.toonzone.net/images/pagemaster/dka1_1.jpg
http://drawingboard.toonzone.net/images/pagemaster/dka2.jpg
http://drawingboard.toonzone.net/images/pagemaster/dka3.jpg
http://drawingboard.toonzone.net/images/pagemaster/dka4_1.jpg
As you can see, SJJ did some planning plotting out the first page of the DKA issue 1 until he got to the final image of pencils. He sketched it out first until there was something agreed upon between him and the editor of the book (Which is TheFlash [a thank you for both of them and SilverKnight, the writer, to use this material btw :D]).
Design
Design plays a big part in any layout of a comic page or a panel in story boards. It helps add a pace to the art work when you properly design it out. It also helps the eye follow easier when going through the panels.
http://drawingboard.toonzone.net/images/pagemaster/dka5.jpg
Another example from DKA issue 1 which shows an inked version of the page. Here you can get a better sense on how the page was designed to flow in an eerie fashion… almost mysterious.
Mood
Mood can play a big part as to how a scene will be shot or what the tone is in a part of a comic book. This technique can be achieved by using contrast or use of certain colors in either characters or surroundings.
http://drawingboard.toonzone.net/images/pagemaster/dkafinal.jpg
Expression
Expression is another device to show a characters mood or part of their actions. It is vital to show how the character feels (or suppose to feel).
http://drawingboard.toonzone.net/images/pagemaster/115a.jpg
http://drawingboard.toonzone.net/images/pagemaster/115b.jpg
http://drawingboard.toonzone.net/images/pagemaster/115c.jpg
Copyright, 1999: Warner Brothers Film – AOL/Time Warner
Perspective (Camera angle))
Perspective (or camera angles) is crucial to the process of sequential art because it is how you set up the story or scene, tell it, and pace it. This is important because there is several factors to take under consideration.
Action or dramatic scenes tend to use more drastic angles and perspectives to show energy and spontaneity. More simple shots (such as dialogs, monologues, naration, etc.) require only simplistic renderings.
http://drawingboard.toonzone.net/images/pagemaster/115aa.jpg
Copyright, 1999: Warner Brothers Film – AOL/Time Warner
Referring to the sample above, notice that the perspectives are simpler than these…
http://drawingboard.toonzone.net/images/pagemaster/168a.jpg
http://drawingboard.toonzone.net/images/pagemaster/168b.jpg
http://drawingboard.toonzone.net/images/pagemaster/169a.jpg
http://drawingboard.toonzone.net/images/pagemaster/169b.jpg
http://drawingboard.toonzone.net/images/pagemaster/169c.jpg
http://drawingboard.toonzone.net/images/pagemaster/170a.jpg
http://drawingboard.toonzone.net/images/pagemaster/170b.jpg
Copyright, 1999: Warner Brothers Film – AOL/Time Warner
Notice the use of more dynamic perspectives in these panels and how it brings out the energy of the scene.
Any questions?
I have an exercise for you guys and gals… With a little help from our friendly resident TZ’er, Calico, I have come up with something you will like to do!
I have a 4 page script for a comic book. I will break them down page by page so we are able to do them and critique each.
Two figures flew across the murky Gotham sky. The first was clad in shadows, barely visible against the black sky, but it moved swiftly allowing the large heavy cape to billow out behind, almost in the shape of batwings to match the dark symbol on his chest. He was zigzagging relentlessly, and stopping only briefly to reshoot a line or change course. The figure’s movements were precisely timed, economical, and powerful. It was as though the dark man were chasing a demon – or being chased by one – as he raced from building to building at breakneck speed.
Behind him was a smaller more colorful figure, dressed in a red costume with black cape and domino mask, who desperately tried to keep up with the first. He moved quickly enough, but was still unable to maintain the pace. Frustration and fatigue threatened the young boy, until he finally saw his mentor waiting patiently ahead atop a building, rewinding the jumpline.
Robin landed with a dull thud, breathing heavily and looking slightly aggravated. “What’s the rush, Batman?” the boy more familiarly known as Tim Drake complained as he reeled in his own line. “We’re just out on a regular patrol, not like there’s anything urgent going on.”
“You needed the practice,” Batman replied simply while surveying the city below.
“Practice?” Robin repeated. “Don’t you think I get enough of that at the cave?” He moved over next to Batman, looking up with a goading expression.
“You have to push yourself all the time, everyday. Never allow yourself to settle. You always need to strive for improvement,” the man under the black cowl explained like a schoolteacher admonishing a student for a less than stellar test score.
Robin snorted. “What if you’re already perfect?” he asked sarcastically.
Batman turned to look at his partner with a stern expression. “Nobody’s perfect,” he rebuked grimly.
Robin turned away and covered his mouth with his hand as if to cough, muttering, “Could have fooled me.”
“Excuse me?”
“Nothing,” Robin replied with an innocent smile. “So where to now?”
Before Batman could reply, the communicator in his cowl came to life with a police band broadcast,
“Attention all units, possible jumper at the Harcourt Building on East Avenue. Repeat, possible jumper at the Harcourt Building on East Avenue. All units please respond…”
“Let’s go,” Batman commanded and was gone before the words had even dispersed into the night air.
With a shrug of the shoulders, Robin said, “Here we go again,” and then followed.
However, there is a certain amount of expectation when it comes to critiques. When making comments like “cool” and “awesome” by themselves are great and all, but doesn’t forward the critique process that much nor helps the artist. We are looking for comments that’ll help the artists progress, like “That's great, but I think you should re-do his leg” or “Nice pencils, but your proportions are a bit weird”… Stuff like that.
Not only do we want to see critiques, we'd like to see answers and tips too in here. Having problems with a pose that you can get just right? Drop a line and someone will get back to you. This place is yours to get feedback, tips, and info to help you become that much better in your art! J
Enough of the small talk… Lets get to the Workshop, shall we? J
This installment is on Sequential art!
Sequential art is, quite possibly, the most crucial aspect of all the graphic arts… Yet, it is the least respected in the art community. It is important because, otherwise, your favorite TV shows, movies, and animated series would not be successful as they are. Also, we would not have certain things such as comic books, graphic novels, and cartoon strips. Sequential art is an important aspect when it comes to media because it directs how a scene is shot, very similar to how comic artists tell the written word visually.
However, it is not an aspect that is easy. It can be honestly said that Sequential Art is the hardest of all of the graphic arts out there today, but is also the most fun and rewarding. It is fun to tell a story your way despite the process behind it. Not only do you need to draw in a way that communicates, but also have the ability to tell a story, page design, and do it all in a way that is eye catching and that makes sense.
Whether doing a story board or a comic page, one must need to keep few of these points in mind:
Planning
ANY page of comic art or a scene for a movie needs to have a good amount of planning behind it for it to work at all. It is quintessential for any part of sequential art work.
Script –
Page 1:
Setting: There's a thunderstorm hammering Gotham, and it's generally a dismal, crappy night. Always a perfect night for **** to go wrong.
There's a shot of lightning; that may travel behind the other panels. Think The Dark Knight Returns. Maybe a gradual close of a Gotham church, or something with a sort of gothic ambience about it. Then, there's a close up of a slanted roof, the dome of a church or a bell-tower, preferably.
Lightning then flashes, illuminating a large, freakish creature with wings and a tail. Its angles are very sharp and jagged, small barbs sticking off its tail. It's clawing up the side of the building. Seconds later, the light diminishes, and you only see the end of the tail going off screen.
http://drawingboard.toonzone.net/images/pagemaster/dka1_1.jpg
http://drawingboard.toonzone.net/images/pagemaster/dka2.jpg
http://drawingboard.toonzone.net/images/pagemaster/dka3.jpg
http://drawingboard.toonzone.net/images/pagemaster/dka4_1.jpg
As you can see, SJJ did some planning plotting out the first page of the DKA issue 1 until he got to the final image of pencils. He sketched it out first until there was something agreed upon between him and the editor of the book (Which is TheFlash [a thank you for both of them and SilverKnight, the writer, to use this material btw :D]).
Design
Design plays a big part in any layout of a comic page or a panel in story boards. It helps add a pace to the art work when you properly design it out. It also helps the eye follow easier when going through the panels.
http://drawingboard.toonzone.net/images/pagemaster/dka5.jpg
Another example from DKA issue 1 which shows an inked version of the page. Here you can get a better sense on how the page was designed to flow in an eerie fashion… almost mysterious.
Mood
Mood can play a big part as to how a scene will be shot or what the tone is in a part of a comic book. This technique can be achieved by using contrast or use of certain colors in either characters or surroundings.
http://drawingboard.toonzone.net/images/pagemaster/dkafinal.jpg
Expression
Expression is another device to show a characters mood or part of their actions. It is vital to show how the character feels (or suppose to feel).
http://drawingboard.toonzone.net/images/pagemaster/115a.jpg
http://drawingboard.toonzone.net/images/pagemaster/115b.jpg
http://drawingboard.toonzone.net/images/pagemaster/115c.jpg
Copyright, 1999: Warner Brothers Film – AOL/Time Warner
Perspective (Camera angle))
Perspective (or camera angles) is crucial to the process of sequential art because it is how you set up the story or scene, tell it, and pace it. This is important because there is several factors to take under consideration.
Action or dramatic scenes tend to use more drastic angles and perspectives to show energy and spontaneity. More simple shots (such as dialogs, monologues, naration, etc.) require only simplistic renderings.
http://drawingboard.toonzone.net/images/pagemaster/115aa.jpg
Copyright, 1999: Warner Brothers Film – AOL/Time Warner
Referring to the sample above, notice that the perspectives are simpler than these…
http://drawingboard.toonzone.net/images/pagemaster/168a.jpg
http://drawingboard.toonzone.net/images/pagemaster/168b.jpg
http://drawingboard.toonzone.net/images/pagemaster/169a.jpg
http://drawingboard.toonzone.net/images/pagemaster/169b.jpg
http://drawingboard.toonzone.net/images/pagemaster/169c.jpg
http://drawingboard.toonzone.net/images/pagemaster/170a.jpg
http://drawingboard.toonzone.net/images/pagemaster/170b.jpg
Copyright, 1999: Warner Brothers Film – AOL/Time Warner
Notice the use of more dynamic perspectives in these panels and how it brings out the energy of the scene.
Any questions?
I have an exercise for you guys and gals… With a little help from our friendly resident TZ’er, Calico, I have come up with something you will like to do!
I have a 4 page script for a comic book. I will break them down page by page so we are able to do them and critique each.
Two figures flew across the murky Gotham sky. The first was clad in shadows, barely visible against the black sky, but it moved swiftly allowing the large heavy cape to billow out behind, almost in the shape of batwings to match the dark symbol on his chest. He was zigzagging relentlessly, and stopping only briefly to reshoot a line or change course. The figure’s movements were precisely timed, economical, and powerful. It was as though the dark man were chasing a demon – or being chased by one – as he raced from building to building at breakneck speed.
Behind him was a smaller more colorful figure, dressed in a red costume with black cape and domino mask, who desperately tried to keep up with the first. He moved quickly enough, but was still unable to maintain the pace. Frustration and fatigue threatened the young boy, until he finally saw his mentor waiting patiently ahead atop a building, rewinding the jumpline.
Robin landed with a dull thud, breathing heavily and looking slightly aggravated. “What’s the rush, Batman?” the boy more familiarly known as Tim Drake complained as he reeled in his own line. “We’re just out on a regular patrol, not like there’s anything urgent going on.”
“You needed the practice,” Batman replied simply while surveying the city below.
“Practice?” Robin repeated. “Don’t you think I get enough of that at the cave?” He moved over next to Batman, looking up with a goading expression.
“You have to push yourself all the time, everyday. Never allow yourself to settle. You always need to strive for improvement,” the man under the black cowl explained like a schoolteacher admonishing a student for a less than stellar test score.
Robin snorted. “What if you’re already perfect?” he asked sarcastically.
Batman turned to look at his partner with a stern expression. “Nobody’s perfect,” he rebuked grimly.
Robin turned away and covered his mouth with his hand as if to cough, muttering, “Could have fooled me.”
“Excuse me?”
“Nothing,” Robin replied with an innocent smile. “So where to now?”
Before Batman could reply, the communicator in his cowl came to life with a police band broadcast,
“Attention all units, possible jumper at the Harcourt Building on East Avenue. Repeat, possible jumper at the Harcourt Building on East Avenue. All units please respond…”
“Let’s go,” Batman commanded and was gone before the words had even dispersed into the night air.
With a shrug of the shoulders, Robin said, “Here we go again,” and then followed.