Full Version: It's hard working in comics!
Man I tell you, I don't mean to whine but I need to vent to someone who knws comics my wife won't understand. Ok so here it goes you all know that the book I am doing is supposed to be laid out in a straight four panel layout, well this is driving me nuts! All the art is basically written so it is a straight on view (also driving me nuts). The writer looked at a page I did today and was annoyed that I changed an establishing shot being panel 1 from a straight side view to a slight over head view. The book just feels so blah as far as perspective goes. So I talked him into letting me keep the over head view for the panel but man. I know when your hired to do a book that you have to go off the script but I think it would be a better read with some diversity in angle. Thats my Rant thanks for listening.
If I may make a suggestion, I know it adds to the workload a lot but, Draw a page the way your writer wants and then draw the same page your way. See what he thinks. If he still gives you a hard time just remember, you're not always going to love the stuff you have to draw, but you still have to draw it.
I'm going through some similar disputes with my group of writers. I tried the draw two pages and compare them, and I was aloud to make some changes in the end.We constantly fight over our charactors looks, but we end up agreeing on some pretty cool comprimises.
Sometimes a few disagreements help the creative process very well.
I'm going through some similar disputes with my group of writers. I tried the draw two pages and compare them, and I was aloud to make some changes in the end.We constantly fight over our charactors looks, but we end up agreeing on some pretty cool comprimises.
Sometimes a few disagreements help the creative process very well.
Yup your right about it doesn't matter if I agree or not I just have to draw it! I am better today, as I had a good night sleep and was able to remind myself as well as you reminding me that, I was hired to draw not question the script. Thanks for the input. 
Even though you might not like the way its going, I think everyone here will agree that it will be awsome to look at. Your talent is amazing and this situation will still add some cool stuff to your portfolio.
("Jay Savage":1wvhm9uu)
Yup your right about it doesn't matter if I agree or not I just have to draw it! I am better today, as I had a good night sleep and was able to remind myself as well as you reminding me that, I was hired to draw not question the script. Thanks for the input.
This is were an editor comes in handy - as a 3rd party.
Straight on views are normally BORING AS HECK!
As the artist - you are basically the cinematographer - and angling the work keep it interesting.
The ONLY way I would see the same 4 pannel straight on view as being interesting:
1) If it were used a device to show that the characters are seeing from their perspective.
2) To make the reader feel like THEY (the reader) is the star of the book.
I can't think of ANY reason to limit panels to only 4 per page - unless its a web comic set to fit a screen width.
But even that is a weak arguement.
I can't think of ANY reason to limit panels to only 4 per page - unless its a web comic set to fit a screen width.
Sure there is, Psycho: Scenery Scenery SCENERY!! Or did you not notice my Pirate page was only 4 panels?
And oh yeah.. ACTION ACTION ACTION!!!!
Sure there is, Psycho: Scenery Scenery SCENERY!! Or did you not notice my Pirate page was only 4 panels?
And oh yeah.. ACTION ACTION ACTION!!!!
("Flairbrusher":p4tmu7su)
I can't think of ANY reason to limit panels to only 4 per page - unless its a web comic set to fit a screen width.
Sure there is, Psycho: Scenery Scenery SCENERY!! Or did you not notice my Pirate page was only 4 panels?
And oh yeah.. ACTION ACTION ACTION!!!!
Sure there is, Psycho: Scenery Scenery SCENERY!! Or did you not notice my Pirate page was only 4 panels?
And oh yeah.. ACTION ACTION ACTION!!!!
Yeah but why would you limit EVERY page to only 4 panels? Thats my point.
Sometimes a moment in the story calls for a Splash page. Sometimes the action is so quick - having MANY pannels helps show all the action going on in a split second.
Hey,don't you remember the AWESOME 80's when JOHN BYRNE submitted an entire FF book SIDEWAYS?? It's all about us artists!! WEEEHHHOOOOOOO!!!!! Hahahahaa!!
Lol, well I spoke with the editor this morning and he has given the ok to panel it anyway I want within 1 or to panels off the initial 4. So he said he trust me just don't go crazy with the panels and forced perspective. Much better if I may say!
I hate to insult the writer but, I write every now and then.
If you read any of my scripts. I allow for freedom of illustration.
So why the staright view, four panel layout?
If you read any of my scripts. I allow for freedom of illustration.
So why the staright view, four panel layout?
I think he is trying to go for a cinematic feel as it is not a superhero book. Not sure but it will be ok with the current direction it is heading into.
Let me play devil's advocate for a bit -- or maybe writer's advocate.
I'll agree that a constant stream of straight-on views can be boring. Any artist will want to vary the views to keep a reader's interest.
But let's assume that the writer knows what he's doing in demanding this peculiar approach. Let's assume that the artist is stuck drawing a stream of straight-on views. Is it necessarily going to be a boring book with boring art?
Of course not. There are ways to make it work. The artist needs to think of the limitation as part of the structure, and think of ways to work creatively inside that limitation. Hey, you're the artist - figure it out. By claiming that a continuous stream of straight-on views is boring, you're admitting that you've got no other game.
There must be other options in there for making the job worth doing. Expressions, body language, shadows, balloon placement, variety in backgrounds, distance from camera, attention to props and outfits, character placement, panel shape and size, borders, pen technique...
I'll agree that a constant stream of straight-on views can be boring. Any artist will want to vary the views to keep a reader's interest.
But let's assume that the writer knows what he's doing in demanding this peculiar approach. Let's assume that the artist is stuck drawing a stream of straight-on views. Is it necessarily going to be a boring book with boring art?
Of course not. There are ways to make it work. The artist needs to think of the limitation as part of the structure, and think of ways to work creatively inside that limitation. Hey, you're the artist - figure it out. By claiming that a continuous stream of straight-on views is boring, you're admitting that you've got no other game.
There must be other options in there for making the job worth doing. Expressions, body language, shadows, balloon placement, variety in backgrounds, distance from camera, attention to props and outfits, character placement, panel shape and size, borders, pen technique...
I wish the project well, but I dpn't think it's cinematic.
Before wanting to work in comics, I did screenwriting.
So from a screenwriter's POV, I would want more
angles, rather than straight forward views. I say mix it up.
That's just me though. Good luck with this Jay.
Before wanting to work in comics, I did screenwriting.
So from a screenwriter's POV, I would want more
angles, rather than straight forward views. I say mix it up.
That's just me though. Good luck with this Jay.
Wellll, I wanted to go into film a long time ago, also, straight on views can be pretty dull, but you may be able to finesse it to the point that the work can be an exciting experiment for yourself (like adding things in the foreground and background to make it interesting and give atmosphere). That might be an interesting solution to the problem. I hope I'm not misunderstanding the situation.
Smoke, water, foreground roach crawling on a desk while the main character is in the middle ground, etc, etc.
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