Severe Camera Angles

Above and beyond the aforementioned very high and very low eye level forced perspective, or the "camera lens" in tight on the subject. Scenes that are shot with a "Fish eye" lens or extreme close ups (usually on faces but can be on any suitable subject), create an immediate effect. Figures XX and XX provide an example on how severe camera angles can add value to the visual storytelling process.

Tilted panels

It's often recommended to use tilted panels sparingly, as it can easily confuse the audience (or make them sick) and loses their special effect if overdone. Always use with storytelling and eye path clarity in mind, but either the horizon within a normal panel can be tilted or the panel as a whole. This is usually an indication that something is amidst or "crooked."

Special Effects

There are a variety of special visual effects, many unique to comics, but the visual effects can be and have influence other media. Here are only a few:

Radiation lines

Common to the comics, these are also used in many interactive games, such as Paperboy, Quake 3 Arena, or Revolt, where the character or object has either achieved certain power status or is being attacked by some mystical force that adds an aura of light around them. The glowing effects of the comics have transcended into all forms of visual media.

Speed lines

The augmentation of the implied movements of characters with "speed lines" are an invaluable aid to an artist, whether on the static page or even in dynamic visual storytelling. They can, however, be overused. Never rely solely on this device to portray speed (see multiple images). The acting of characters (poise, balance, coordination, gestures, etc.) should always be convincing and can also present speed and motion. Remember, that the lines are not really there and are an after image of whatever is set into motion, and should serve to clarify the action, not create it.

Impact lines

Impact lines are handled like explosions whereas the lines radiate from the point of impact (for crashes) or center point (such as a surprise) and should be treated like a lighting effect. Although, it's best to insure the action calls for it, as if used inappropriately, they can distract the reader from the story itself. Impact lines dramatize the actions by using a visual exaggeration of the contact or emotion.

Burst effects

Explosions are done with radiating diagonal lines, which are actually a combination of compositional lines (which are "invisible") and rendering that indicates light and shade. Explosions are usually bursts of light, and easy to do by treating its energy source (or center) as a single light source.

Kirby Krackle

The "Kirby Krackle" is a method of presenting power or energy, created by Jack Kirby. There have been many elements to comic books that Jack Kirby has contributed and has influenced other media in general, but this one is clearly all his own. Its simplicity is lost in the dramatic effect it provides the reader (and the interactive players that it's inspired). Crisply laid out "particles" radiating from the power or energy source gives the figure or object a unique glow.

Multiple images

The use of multiple images is used to provide an illusion of movement or speed. Much like the fact that the cinematographer of the television show Six Million Dollar Man, or the filmmakers of The Matrix needed to present super speed in slow motion, otherwise, how would the audience see the action? The multiple images of Neo (played by Keanu Reeves), in The Matrix adding and even more dynamic effect to the scene by following the bullets miss him. This multiple image effect has been used in comics since Carmine Infantino first introduced it in The Flash, in 1956.

Said J. David Spurlock, co-author of the Amazing World of Carmine Infantino, "Carmine Infantino's historic 'How I Draw the Flash' (1960's Flash Annual and the Amazing World of Carmine Infantino) includes an absolute, classic example of the artist's innovation in illustrating movement. This technique is more work for the artist, but Carmine felt he needed to develop a new approach to set his co-creation apart from the Golden Age character of the same name, and from traditional comic's motion lines."

Transformation effects

Before the morphing software, and even before motion pictures, there was Richard Mansfield, who played Dr. Jekyll & Mr. Hyde in the first stage play based on the novel The Strange Case of Dr Jekyll and Mr Hyde, by Robert Louis Stevenson, which was first published as a novel in 1886. Although, the transformation from man to beast goes as far back as ancient Greek mythology (always a great resource for inspiration; see recommended reading for books).

Transformations can be something as simple as Superman's quick change from Clark Kent to Superman to Bruce Banner's morphing into the giant Hulk.

"Japanese" speed lines

There are as many unique elements to Manga as there are similarities. Once a clear differentiator is the dynamic speed lines that have influence a new generation of artists and have been so ingrained into the art form, that Japanese animation, even the dynamic visual still use speed lines to enhance motion.. These tend to be more linear and precise, immediately indicating movement at such a pace that the backgrounds become nothing but blurry lines.

The Principal of Thirds

The Principal of Thirds is a methodology for object placement within a visual storytelling frame. Unfortunately, this portion of my book ended up on the cutting room floor, but is an important component of overall design. Typically used in filmmaking, but taught by the instructors at The American Academy of Art in the early 1980s as a guide for object placement when designing on the page or within a frame. If you take any frame—comics’ panel, ad page, film frame—and divide it into thirds both horizontally and vertically, there are four points at which the lines meet. The eye is drawn to any object within the frame that is centered on one of those points, and thus bisected horizontally and vertically, rather than directly to the geometric center of the composition.

Framing

This constitutes using panel borders and/or objects within a panel to frame panel contents to emphasize what is most important. Things like trees, bridges, windows, characters, etc., the list of things that can used to frame an important object, character, or action, are endless. Using heaving shadows or a different rendering technique can do a lot to emphasize what's being framed.

Basic shapes

When working out a design, it helps to simplify the forms by using simple basic geometric shapes as depicted in Figure 10.34 (circle, square, triangle, etc.). This will provide a foundation to review layouts and designs before laying down some hard work.

Figure Grouping

When establishing or drawing groups or crowds of figures, this must also be approached with a true sense of design. Time and again, in comics, a "uniform field" of figures is drawn, creating a boring symmetrical effect. Utilize asymmetrical and balanced asymmetrical designs and shapes to arrange the figures more often. If done properly, this can aid in the storytelling as well as improve the aesthetics of the drawing.

At 15 frames a second, an animated feature would have about 900 pictures to tell the same story as this single page, or about one minute of story. However, because of the "Interpersonal" experience, each individual may choose to experience the page differently. Many may gloss over it in a few seconds, while others may spend a few minutes absorbing the details on the page to add depth to the story.

Spotting Blacks

The distribution of black or dark areas within a scene, or on a comic page as a whole can aid in a unified sense of design. To see clearly what the pattern of black areas looks like on a scene, panel or page, do the same overlay technique used when highlighting negative space. On an overlay, use a marker or computer mask and fill technique, to fill in the areas anticipated will be solid black. The pattern of black areas within a panel should help the aesthetics and clarity of storytelling, form, action, and emphasis of the work.

Use blacks and graphical design elements (shape, color, etc) to lead the reader's eyes in the right direction. This can be done for panels or scenes individually or an entire page as a whole. While the black masses make a drawing seem solid, they also help place focus on important elements in a scene by attracting the eye toward them. Equally important is the use of solid and strong black masses to create dramatic moods within a scene.

Always remember - the placement of black areas creates a definite pattern in every panel. The pattern must never be too complicated, or too busy, or it will confuse the reader. Whenever an illustration causes confusion in a reader's mind, it also causes the reader's attention to be diverted, killing the dramatic mood created. Keep it simple and keep it clear.

Figure Cropping

When a frame or other objects in a frame crop the view of any figures, it should be done in a way that is aesthetically pleasing and purposeful. Cropping a figure inappropriately can be quite jarring to the audience, especially as a reader. Some basic rules to follow when cropping:

1. It is usually visually awkward to crop a figure at a major joint (neck, waist, elbow, wrist, knee, and ankle). By cropping a figure off at the neck, it's going to look as if they've lost their head. The same hold true for any of the other joints. By cutting a figure off at the ankles and add smoke to hide the mistake, then the visual storytelling police will personally find and kill you.
2. It's better to crop mid thigh or mid shin than at the knee. It's an easier transition for a reader to accept.
3. Never crop in ways that negatively affect clear storytelling. The figure's action should always be clear. In other words, try not to crop a figure close to an action that is important to the scene. Never crop out a limb or part of a limb that is important to what is going on in the frame.

Another rule, although not entirely related to cropping, is to avoid having the figure standing on the border of the frame. Doing this will kill some of the three-dimensionality of the work and like anything else, do for a specific reason or effect in mind, but avoid whenever possible—remember, as a visual storyteller the goal is to draw the audience inside and not pull the characters out.

Tangents

Objects within a composition will look awkward if their major contours (usually outside silhouette contours) touch but don't overlap significantly. A character's arm that butt's up against, for example, the frame's border is going to make it look as if the character is leaning on the frame. Another problem tangents cause is pulling the eye to where the tangent comes together like a magnet.

It's better to overlap the forms or objects or separate them completely. As long as they don't just touch each other's contour. Doing this can pull figures or objects together onto the same plane, even if they're supposed to be hundreds of feet apart. If overlapping two figures or objects, make sure there is no doubt about their position and depth.

Scott McCloud, in his book Understanding Comics, listed a series of standard categories of word-and-picture formulas in visual storytelling for comic books. However, as depicted in the few examples that follow, these transcend any visual medium.

(1) Word or Script specific, where the picture illustrates, but does not necessarily adds very much to a fairly descriptive text.

(2) Art or Picture Focus, where the words act as little more than a soundtrack for the pictures of a visually told sequence.

(3) Duo-Focus is where the words and the pictures are conveying the same message, which tends to be overkill, but if used wisely can be an added benefit to further characterization. As John Byrne mentioned in Chapter 9, the artist's job is to put the writer out of business. So what happens if in a duo-focus example, there is a script describing a typical action scene where the villain opened fire on a hero with a sawed-off shotgun. The original dialogue read: "I'm going to blow your head off!"

If the artist actually draws the villain shooting the hero's head off, it's superfluous to have the character still say: "I'm going to blow your head off!" The artist has already visually informed the reader of this fact. Thus, the artist can change the dialogue to something that can add more suspect, drama or subtext, such as, "Why won't you just die!" or something that is story specific. (4) Elaborate Combos are when the words elaborate or expand upon what is being said in the picture, or vice versa. An example of this is a couple walking down a romantic beach hand in hand and they're telling each other how happy each of them are to have found the other. (5) Parallel combos are analogous combinations of words and pictures with little to do with each other. The pictures are telling one story, while the words seem to be telling another. The Montage is a seamless combination of words that become an integral part of the picture. The montage is a visual (usually large) that has a number of juxtaposed elements (along the line of most movie posters). Those elements should, ideally, be arranged in a manner that takes eye path, storytelling, and emphasis into account. A common montage composition mistake of many artists is the "uniform field". This is where the elements in the montage are fairly evenly arranged on the page. What happens then is not only a very boring layout, but the reader becomes unsure of what is important on the page, and the composition will fight the eyepath of the reader, causing them to be unclear as to what panel/element should be viewed next.

The category that many industry professionals have seen as the most commonly used application of comics storytelling is called "interdependent." This is where the words and pictures act together to convey a thought or idea that neither could have expressed alone. This combination isn't always completely balanced, and any given panel may rely more on words than pictures, or vice versa, to get its point across. However, the most effective comic book stories are where the writer and artist work closely together to push the art form to its boundaries, or the writer and artist are one in the same, and a master of the medium. Again, as with any form of collaborative production, communication between the team members can be a vital addition to the completed product.

It is not unusual for a writer to picture a character or scene in one fashion, and, if not completed expressed within his script, have the artist draw it completely different. This can be a better expression of the writer's concept. Nevertheless, there may be specific attributes to the writer's thought process (maybe for a future issue's plotline), which make these decisions best determined by both co-creators.