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

CONTENT

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

Introduction

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

Index

Các trang minh họa

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