Professor Woolley | BAM 70500-02 | FALL23

Category: Resources (Page 2 of 4)

Frank Stockton & POINT OF VIEW

Action can often suggest the layout and framing of a shot. As always, we go back to our story. Ask yourself: What is the character doing? How do they feel about it? How should the viewer feel looking at this scene? How can I make this action clear to the viewer? These questions will help to dictate your layout (another word for composition) as well as help you choose your POV.

In this illustration by Frank Stockton, notice how the action and feeling have dictated many of these decisions.

ill_232_v9_m07_p7_stockton_10

The Moving Camera

The world you see in an illustration can be very compelling, inviting you in for deeper analysis. Or not. Much of this depends of the point of view you see it from. After all, seeing a concert or play or a game from the nosebleed seats is not the same experience at all as being up close and personal with the action. Since in illustration you can choose your viewer’s vantage point, take the time to really consider it.

Frank Stockton is a comic book artist and illustrator who is known for using point of view like a boss! We just examined one of his images in detail on the previous page for exactly that reason.

As you look at the next series of images ask yourself once again: the illustrator could choose any point of view from which to show this scene, so why did he choose this one?

Master’s Study, Frank Stockton & POINT OF VIEW

Action can often suggest the layout and framing of a shot. As always, we go back to our story. Ask yourself: What is the character doing? How do they feel about it? How should the viewer feel looking at this scene? How can I make this action clear to the viewer? These questions will help to dictate your layout (another word for composition) as well as help you choose your POV.

In this illustration by Frank Stockton, notice how the action and feeling have dictated many of these decisions.

ill_232_v9_m07_p7_stockton_10

The Moving Camera

The world you see in an illustration can be very compelling, inviting you in for deeper analysis. Or not. Much of this depends of the point of view you see it from. After all, seeing a concert or play or a game from the nosebleed seats is not the same experience at all as being up close and personal with the action. Since in illustration you can choose your viewer’s vantage point, take the time to really consider it.

Frank Stockton is a comic book artist and illustrator who is known for using point of view like a boss! We just examined one of his images in detail on the previous page for exactly that reason.

As you look at the next series of images ask yourself once again: the illustrator could choose any point of view from which to show this scene, so why did he choose this one?

Understanding Comics Chapters 3 & 4

Understanding Comics: The Invisible Art by Scott McCloud

Our course text is Understanding Comics By Scott McCloud. It is a comic book about comic books. McCloud, in an incredibly accessible style, explains the details of how comics work: how they’re composed, read, and understood.

Chapter 3 – Blood in the Gutter – pp. 60

  • In comics, what is “the gutter?”
  • Discuss the concept of closure as it relates to comics.
  • Of the six types of transitions in comics, choose one that you find most interesting and tell why.
  • What’s the point of the three stories about Carl that are shown on pages 84-85?

Chapter 4 – Time Frames – pp. 94

  • Is each frame in a comic a single moment in time? Why or why not?
  • How does adding words change the length/time of a panel?
  • In comics, time and space are “one and the same.” How so?
  • On page 101, how does changing a panel’s shape affect its time?
  • In comics, motion is usually reduced to what?
« Older posts Newer posts »