Framed Ink – Drawing and Composition for Visual Storytellers

Tạm dịch là “Vẽ và Bố Cục cho truyện tranh”.

Framed Ink – Drawing and Composition for Visual Storytellers

Thể loại: Bố Cục truyện tranh
Tác giả
: Marcos Mateu Mestre
Định dạng: scan PDF (128 trang)
Dung lượng: 42 MB

Download:Framed Ink – Drawing and Composition for Visual Storytellers


Foreword introduction CHAPTER 1: General Thoughts on Narrative Art

Think, feel. What is the whole story, the specific sequence, the shot about? How do we bring an audience into our world? The general tone of the story / Consistency Not telling the audience things, but making them feel things

CHAPTER 2: Drawing and Composing a Single Image (Basics)

Atmosphere Lighting Drawing in chiaroscuro Studying reality as it appears in front of us Working the flat surface / A basic checklist A quick word on lenses

CHAPTER 3: Composing Shots with a Purpose Introduction Part 1: The visual message within a still composition (analyzing examples)

The restaurant (a general case) Establishing shots Animating the scene Looking down, feeling down Overpowering upshots Using the negative space Order vs. Chaos Complex vs. Simple Big vs. Small Angular vs. Curved The “tree vs. forest” effect (numbers) Big, medium, small Landscape as a character Conceal and reveal (emotions) Weird beats, weird shots POV (point of view) Daytime / Nighttime Keeping the focal point Scale progression Knowledge vs. unawareness (intercutting) Beyond the standard points of interest (icons) Action shots

Part 2: Working with motion

Camera move within the set / Camera motivation Horizontal pan (The train station) Vertical pan (Epic shot) Changes in the mood (The visit) Reveal (A new land) Locking the camera (Road diner) Locking the camera (High desert meeting)

CHAPTER 4: Composing for Continuity

How one thing affects the next: thinking in continuity Why build up to a climax? Ramping up (1) – Train flat from the side Ramping up (2) – Train in perspective Using the same elements we can deliver very different messages “Cowboys” Part 1: Keeping the camera on the same spot “Cowboys” Part 2: Changing the camera position with a purpose Using the same elements we can deliver very different messages / Transitions …. “The Bikers” Part 1: Mystery house “The Bikers” Part 2: Mobsters in the attic The line

CHAPTER 5: The Graphic Novel


Part 1: The characters

Overall silhouette / The head Overall silhouette / The body Dynamics of expression / The face Dynamics of expression / The body

Part 2: The panel and the page

The panel The page Balloons and onomatopoeias Last Thoughts


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