Learn how to pick out panels within a script that have no clear indication of panels, dialogue, or pages.
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- [Voiceover] If every comic's step one is writing a script,…then step two should be drawing the panels, right?…Kind of.…We can't quite begin drawing just yet.…First, we have to figure out what we're actually…going to be drawing in the first place.…Taking a look here at the Lost Trail's script,…you can see that since Lynn didn't designate…what is an actual panel,…we kind of have absolute freedom here.…We get to decide what we're actually going to be drawing.…So how do we do that?…How do we find our panels in all of these words?…It all actually starts with a simple concept.…
Every action is one panel.…Let me show you what I mean.…Can you draw somebody opening and then closing a door…in one single panel?…No, you could draw those action lines…as if to show movement, but it might just…look like they're wiggling the door right off the hinges;…it doesn't effectively tell the story.…To show the story of opening and closing a door,…each one of those would have to be two panels.…It's two actions, and it's impossible…to show them in one image.…
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