Wow on parts 1 and 2. I learned a lot.
That's awesome. Memory'd.
*Why aren't there any books on these things?
I keep thinking about writing mroe essays and turning them into one, but haven't gotten much farther than that.
You definitely could. I wonder, if Mangaka America does well, maybe a #2 would be the next step :) In that case, you'd definitely have to write somethin.
There's definitely a need for it - with all the How to Draw books out there, even for regular comics, they usually devote just a page or two to the ideas of visual flow and page composition, and those are the things that make comics comics and not just a bunch of pictures with writing on them.
For sure yo. I mean, you could dedicate an entire serie sof books to visual flow, pacing, and all those things that go into creating a comic, before you even draw your final figures.
Ha. Dude. That's awesome. *^-^* I have his other two how-to books, and I've was wondering exactly when his next one was coming out.
Yeah, it would be nice to have all those essays on manga creation from the internet compiled into one place. Great posts BTW. Think you could do one on crafting story beats from script to final art? (Perhaps like a 1-2 page example from your book even).
I never knew how much work went into planning out panels! How do you write? Make a script, plan it out, then draw it?
Thanks again for posting this for us! It's so cool!
Thank you for posting how much you make and explaining that’s actually cut in half by taxes and necessities, etc.
I'm loving these, Rivkah.
keep them up!
'Why aren't there any books on these things?'
Will Eisner talks about word balloon placement and pacing, but I think Scott Mccloud gets more into composition and flow. Either way this is a lot more in depth :)
Hey, now I know who those characters are! :P Though I do have trouble telling the difference between Leah and Sarai at times (and how the hell do you pronounce that, anyway?)
You keep pushing down to the lower right corner. I'm not convinced that that's the best path for the eye on an even-numbered page. At some point, you need to push the eye back up to the next page, so that they can get back to panel No. 1 on the odd pages.
When you read a book, just because you finish at the bottom right corner, do you automatically cross over the page to the bottom left?
Under that logic, the subconscious eye wouldn’t need everything that you just spoke of - it would scan left to right and top to bottom. But there’s all these pretty art things in the way that can trip it up.
If you’re just staring at a tombstone block of text, the layout would be fine. But paying attention to what is on the next page is almost as important as paying attention to what is where on the current page. I figured this out when my wife kept skipping ahead a page in some comics.
Again, it’s not an “always do this” matter, but it is something to consider.
However, we've been trained to automatically start at the top left corner of every page, whether it's on the left or right. I agree that it's something to consider in some cases (take a two page spread, for example, or a single scene that crosses many pages). But I can't recall a time I've been reading a comic and ever been confused when crossing the page because the art stopped in the opposite corner.
Another thing to think of is that you have a very limited amount of space in which to tell a story. 160 pages may seem like a lot, but it actually runs out very, very quickly. A 5x7.5 page simply doesn't have enough room for the eye to make a full loop back up the right side of the page without it being some sort of borderless montage (bordered panels wouldn't work because the eye is automatically going to flip to the panel on the right, not down, with no room to crawl back up) . . . and montages typically indicate a single scene, cutting down on the amount of story and time covered on a single page. I think, if there were more room in which to work--say a children's book, larger issue comics, or full sized books like Flight, or even a web page which you can do all sorts of crazy things and the potential is pretty much limitless--this would be a wonderful concept. But I'm speaking purely in the context of graphic novels (because that's what the majority of young artists who read my journals also read and produce and need the most feedback on), though I have to say, I think it'd be more of a hindrance than help in those media as well (except for websites).
However, if you have examples, please feel free to post them. My opinion is always willing to be swayed, and I enjoy the intense discussion that goes along with differences in perspective and opinion. It's a beautiful thing that ART is something so broad in definition. :)
Ah! finaly! I've been trying to explain this stuff to my writer for months! thankyou~!
And yes, I was in a class from Scott this summer, and alot of this will be in there but its always good to have alternate methods of explaining things. Also, this takes into account the more fluid style of manga, and more diferse layouts. Scott's too old school for that ;)
If only I'd had this a year ago! Its usefull as is, but a year ago this would have been alost ALL new info to me.
Actualy...do you mind if I make use of this? I tutor a highschool girl, and I'm doing a couple one afternoon workshops at my local libraries this summer.
Let me know!
*lol!* You're welcome to do what you want with it. I put this stuff up free for a reason. :)
These are brilliant. Appreciated.
Cool stuff yet again. Breaking up the word balloons like that is something I've been meaning to mess with, but haven't normally had the space to do.
2006-08-10 10:53 am (UTC)
Great tutorial. This is a topic I have a lot of interest in, and often criticise comics for. I often edit my text considerably to work best with the flow of the page, and the placement of bubbles is crucial. Whenever I read comics with disrupted flow lines I feel like putting them down (but I usually don't, unless it's terrible ^^).
Brilliant! Please teach us more!
Great info! I'm making a comic book and this really is what I was looking for. I have a recently born web site where you can find different kinds of contests, there are comic strips and photography contests right now if you want to check at http://www.hamacaproductions.com/
Also the site has a forum for artists who create this kind of stuff and it will be great to have this tutorial in the comic books section!
Take a look at my site and let me know what you think, and soon you will se my comic book published there, hope you like it!
Thanks for this info!
2006-08-19 06:21 pm (UTC)
WOW great article, 10x a lot :)
but I have a question and am hoping that you'd know
Why are the letters all caps - is there some rule to it?
2007-03-14 03:35 am (UTC)
Re: all caps
i would beleive this is because the cap's are easyly identifyed by the eye.
It's tradion. I think it was just easiest to write excatly the same for pages. But lots of people now are trying both.
2007-04-28 09:36 am (UTC)
Paneling, Pacing, and Layout in Comics and Manga: Part 3?
Wow... Your tutorials are really helpful, especially to newbies like me.
I really love them and I recommended my friends to read them.
BTW, you mentioned that there will be another installment for this tutorial series - dealing with doubled baloons, using sound FX for directing the eye, offsetting art in a panel or page, and knowing when to utilize same-sized sets of panels for special effects.
I'll be very pleased to know when it will be released.
2007-05-02 09:26 pm (UTC)
2007-09-15 01:30 am (UTC)
Ive learned more in these 5 minutes about panneling and layout than I have in five years...seriously.
2007-11-25 11:12 pm (UTC)
testing this one...
Very interesting... as always! Cheers from -Switzerland-.
2010-01-27 03:17 am (UTC)
Re: testing this one...
very helpful! thank you :)
2008-05-22 01:16 am (UTC)
Beautiful and brilliant! Thanks for this. I'm working on a manga right now and I've been told my composition is alittle off. Never understood what that meant. Hopefully after reading all these, I'll have a better grasp :) Have a great week Rivkah! ;)-GIO
2008-06-18 02:12 pm (UTC)
This article (please reply)
I am writing a manga, a psychological thriller/action with the use of alot of dialog and with the use of a narrator. Thing is... I am having trouble actually writing it, all my ideas are there, all my charcerts are there the plots there and when it comes to panelling etc I am stuck. This helped a little but I am sorry to say it didnt help any more than I needed it to :( but thanks for your hard work it is appreciated.
I am writing from right to left btw. Any help?
Thanks this was kick-ass...
The two installments of this post are great. I thought I just needed to tell you that!