RE: how do i storyboard the comic
03-23-2016, 01:59 AM
Here's one of my early panels from Meander which I'm particularly proud of.
Meander was definitely drawn in a way that encouraged comic-style panels, which meant that in action scenes like this the use of panel placement definitely added a lot to the sense of the action - the vwoom and ba bang, as it were.
Note the three 'countdown' panels at the top. They signal that these panels are to be read top to bottom, left to right. But then the line of action spreads out: your eye is drawn to the Discount Ice Cream Man's vanilla blast and the hapless duo Jammroll and Tom Smith pushed along with it, so for a brief moment you're moving right to left. Also, the panel itself distorts with the force of the blast, which is a nice creative touch if you're playing around with the concept of the rectangular panel.
That in turn distracts your eye from the approaching Lavender Devin, just on the other side of the hallway (and in another moment, chronologically. Because it's another panel technically this would have been a jump cut or a wipe passing through the wall, like you see on TV. That's the effect I was going for when I drew that panel). So then when you do see her murderin' ass running down the hallway it comes as a visual shock and as an indicator of how close our intrepid duo came to death!
Meander was definitely drawn in a way that encouraged comic-style panels, which meant that in action scenes like this the use of panel placement definitely added a lot to the sense of the action - the vwoom and ba bang, as it were.
Note the three 'countdown' panels at the top. They signal that these panels are to be read top to bottom, left to right. But then the line of action spreads out: your eye is drawn to the Discount Ice Cream Man's vanilla blast and the hapless duo Jammroll and Tom Smith pushed along with it, so for a brief moment you're moving right to left. Also, the panel itself distorts with the force of the blast, which is a nice creative touch if you're playing around with the concept of the rectangular panel.
That in turn distracts your eye from the approaching Lavender Devin, just on the other side of the hallway (and in another moment, chronologically. Because it's another panel technically this would have been a jump cut or a wipe passing through the wall, like you see on TV. That's the effect I was going for when I drew that panel). So then when you do see her murderin' ass running down the hallway it comes as a visual shock and as an indicator of how close our intrepid duo came to death!
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So very British / But then again | People are machines Machines are people | Oh hai there | There's no time
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Superhero 1920s noir | Multigenre Half-Life | Changing the future | Command line interface
Tu ventire felix? | Clockwork for eternity | Explosions in spacetime