Learn how to choose, in a script with no clear page markers, when a page is a page. It’s not about how many panels, but the story being told and where it leaves off.
- [Voiceover] So, now that we know how many panels…we have in our script,…it's then time to figure out where they go,…and how many go on what pages,…and wait, how many pages is this thing now anyway?…So many questions,…let's take it one step at a time.…Before we can decide on how many panels…are going to be on each page,…we first need to understand why some comic pages…have as little as one or two panels,…like this guy here from my book Lost Trail,…and why pages like this have about a million,…there are reasons for this,…but why complicate things?…Why not just take your number of panels…and divide them evenly amongst however many pages…you want in your book?…Sure, you could,…but that would be pretty boring,…and not the best way to tell your story.…
Here's why, taking another look at this two-panel page,…what do you think my reasoning for this?…If I'm in complete control of the art,…and the writer hasn't told me what to panel…and what panels are on each page,…why would I ever sacrifice precious page real estate…to make this one only two panels,…
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