After identifying panels, what don’t you need? What are the bare minimum amount of images you can use to best tell your story.
- [Voiceover] Not every single thing that happens ever…is crucial to a story.…Just like when you're telling a story verbally,…you want to keep it consolidated and interesting…while at the same time, make sure it's…easily understandable and not confusing.…Comics are no different.…In fact, consolidation is even more important in a comic…because sometimes you only have so many pages…to tell a huge story.…So maybe every single action doesn't have to be drawn.…Maybe it doesn't have to be a panel.…Here's an example of what I mean.…Say you had a script that you picked out all the actions…and it went something like this.…
Our character here Don Finnler,…enters a cabin, sits in a chair,…takes his shoes off, turns on the TV…and falls asleep.…That's a five panel page and a boring one at that.…That might all be in the script,…but maybe I can tell that exact same story…without having to draw every single one of those panels.…Let's see, I bet I can do all five of those panels…or actions in one.…
All right, so here we have Don asleep in a chair,…
The main ideas and concepts are dynamic composition, movement, and narrowing down a script to its core actions in a way that best tells the story, and the importance of trying different things, rather than just going with your first idea. Ben illustrates the concepts with examples from his own graphic novels, and includes tips for staying organized and focused as you draw.
- Identifying panels within a script
- Consolidating panels
- Roughing out poses in Photoshop
- Planning panel shapes
- Placing panels
- Finalizing the page