Using your myth research and your ideas about the form in which to express the content...there are many ways to utilize it as the content:
- use your research as the imagery (or interpret it)
- draw on top of it
- use cut out shapes or sections of the research (or interpret it)
- collage it (increase or decrease scale to show depth, distance, crop/frame, tilt, blur, etc.)
- use monochromatic light+shadow /silhouette...etc. Or not....
- think cinematically but determine if your story/myth is a theatrical performance, a film, or animation
1. Determine the KEY FRAMES for the story/myth and use these to expand into one page sequences
• List these and then expand these key frames into smaller sequenced panels/frames as needed (distill, distill, distill)
This is a work in progress, so start with the opening Key Frame and expand it--next week we'll look more closely at graphic novels and methods of building interest, tension, timing, etc. through the choice of panels, and continue working on these Key Frame expansions.
2. Establishing the Scene/Setting the Stage/Opening Shot
• Establishing Shot–Establishing the scene and its characters, objects, and mood, so that in a glance, enough information is shown to the audience to know where they are and where they are about to travel. These shots can also be used to establish major characters' relationships to one another.
• An establishing shot need not be the first shot/frame of the sequence but it does have to be in there somewhere, so we know where we are, who is in the scene, and what's happening and why....pull the "camera" back.
• Determine possible viewpoints and angles
Who/what is the dominant presence in the frame? Decide if placing the heroine/here/protagonist is the most dynamic OR if it creates more conflict/tension to use the opposite POV in which the antagonist becomes the dominant element in the frame.
• Consider scale, cropping, position to emphasize the action that ignites the scene...don't forget to use Visual Metaphors to help create potent psychological tension in the reader's perception
• Show instead of Tell
• Use light and shadow to bring focus
3. See Ch. 3 Blood in the Gutter in Understanding Comics for more information about storyboarding transitions:
• List these and then expand these key frames into smaller sequenced panels/frames as needed (distill, distill, distill)
This is a work in progress, so start with the opening Key Frame and expand it--next week we'll look more closely at graphic novels and methods of building interest, tension, timing, etc. through the choice of panels, and continue working on these Key Frame expansions.
2. Establishing the Scene/Setting the Stage/Opening Shot
• Establishing Shot–Establishing the scene and its characters, objects, and mood, so that in a glance, enough information is shown to the audience to know where they are and where they are about to travel. These shots can also be used to establish major characters' relationships to one another.
• An establishing shot need not be the first shot/frame of the sequence but it does have to be in there somewhere, so we know where we are, who is in the scene, and what's happening and why....pull the "camera" back.
• Determine possible viewpoints and angles
Who/what is the dominant presence in the frame? Decide if placing the heroine/here/protagonist is the most dynamic OR if it creates more conflict/tension to use the opposite POV in which the antagonist becomes the dominant element in the frame.
• Consider scale, cropping, position to emphasize the action that ignites the scene...don't forget to use Visual Metaphors to help create potent psychological tension in the reader's perception
• Show instead of Tell
• Use light and shadow to bring focus
3. See Ch. 3 Blood in the Gutter in Understanding Comics for more information about storyboarding transitions:
- Moment-to-moment
- Action-to-action
- Subject-to-subject
- Scene-to-scene
- Aspect-to-aspect
- Non-sequiter
First 5 pages from Cages: Ch. 1 Descent by Dave McKean
Note that he is able to establish the pace, time of day, location, and introduce a protagonist and narrator (cat?) using only grayscale/silhouette and variable frames that slow down or speed up the storytelling.
Note that he is able to establish the pace, time of day, location, and introduce a protagonist and narrator (cat?) using only grayscale/silhouette and variable frames that slow down or speed up the storytelling.
Things to consider about your storytelling andstoryboards :
This is up to you and what serves the myth/story/text the best....there are no rules about how you choose to tell the story. And you'll get class feedback as to what works and doesn't....don't be afraid to try something risky.
- Is it told in flashbacks? Flashforwards? As someone's memory? From the end to the beginning OR beginning to end? ? Do you start with the end and then go back to the beginning to tell the story?
- Who is telling the story? Is there a narrator? Human? animal? spirit? etc.
- Is it told in a montage style with quick cut images to tell a lot of story quickly? Or in wide panning scenes? Or as split frames that tell two or more simultaneous storylines, etc.
- Decide if this is a myth/story that will be dramatized as a theatrical performance, an animation, film, comic or graphic novel, etc.
This is up to you and what serves the myth/story/text the best....there are no rules about how you choose to tell the story. And you'll get class feedback as to what works and doesn't....don't be afraid to try something risky.
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