Charlie Roberts
Charlie Roberts
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Charlie Roberts
Charlie Roberts
Ink on bristol paper
Charlie Roberts
With David Finch's examples, between panels 1 and 5, we see the two characters flipping from left to right. In the previous lesson he introduced us to the 180 rule and also warned about flipping the camera angle. In his example it didn't look off and ran smoothly from panel 4 to 5 (to me anyway). So, my questions are... 1. Does the 180 rule apply from panel to panel, rather than taking the whole page into account? E.g. you could keep moving the camera angle around by 180 from each panel to the next, and within a single page having the camera angle move a whole 360 (or more) around the characters/ scene? 2. Can you break the 180 rule by using the character's POV to lead you to a new camera angle?
@monkeyxmonkey
Going from panel 4 to 5 was also very smooth for me. I think David's page is a perfect example of when breaking the 180 rule helps better serve the story. My interpretation of the 180 rule is that it helps establish a smooth flow when going from frame to frame. It helps reinforce our knowledge of the environment and the relationship between whoever is in the scene and allows us to focus on the action. Right at the beginning of the page, David sets the scene and establishes whose on the left and right and what's going on behind them. I don't have to figure that out as I'm going from panel to panel, and instead can focus on a dude getting mugged. And in panel four when the two look towards the hero, it sets an expectation that I'm going to be surprised. The hero's reveal is sudden and shocking and I believe breaking the rule helps bolster the impact of the scene. So I guess if I had to answer, the 180 rule applies for as long as it serves the narrative whether it be for a few frames or a whole page if not longer. And to me, using the character's eyes is a fantastic way to introduce a new camera angle. I don't know if David did this consciously or instinctively because he never mentions it.
Jme
I have a question about figures intersecting the sides of panels. David's description makes sense, but I've also seen super close-ups that essentially cut off one half of the character's face using the top and side of the panel. Things like that. What's an effective way to do this without it looking odd in the way the video describes?
Charlie Roberts
I think cutting off and intersecting are two different things. As he mentions in the video it's ok to cut off parts of the character as long at it's not the joint. He does make an exception with the head, but that was a medium shot. If it's a close up, then you'll have to cut off parts of the face somewhere. Also maybe a bad example would be if the close up was of the eye and the eye was touching the panel borders (interecting) rather than pushed a bit further into the centre of the panel, away from the edges.
Charlie Roberts
Here's a comic book page I made a while back before ever watching these lessons. At the time, I thought I was being clever using a tangent between the lower jaw in the smaller panel and the side of the horn/petal/nose thing in the larger one. I wanted to ask two questions. 1. Do you think the tangent worked in this instance or not? 2. Are there examples of where tangents can be used to bolster the impact of the page or should it always be avoided?
Robertryan Cory
I don't want to speak for David Finch, but here is a pretty popular example of Neal Adams using tangents to create a face of Deadman. I think it's important to understand rules are not there as hard never break things, they are there to help people self-correct their own work. In this case how do you avoid making your page look flat. As far as your page, yes and no. The tangent doesn't bother the flow but the first panel doesn't establish a solid environment so it looks a bit like a floating object with no dimension. The second panel I understand it's zooming into the mouth but it might be framed too tightly for others to read instantly. Most honest feedback I can give.
Charlie Roberts
If plunder has a name... it must be Islington Bones. Brush and pen, title added digitally.
Charlie Roberts
A photo of the original
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