Im an animation artist who's starting her first graphic novel, and this channel is a blessing. I've come across videos that talk about graphic novels, but a lot of them don't discuss techniques to the depth that you do. These videos are super engaging, helpful and full of detail that i deeply appreciate, i feel like i can actually put what you discuss until practice for my own work. Subscribed, so glad to see more recent videos too, i need to catch up.
I don’t leave comments very often on TH-cam (that’s only my second one overall) but your channel is simply awesome ! The amount of work you put in to communicate your passion is just exhilarating. Cheers from France and keep up the good work !!!
Your channel is so criminally underrated, if there was some sorta comic book film school equivalent this is what should be thought. And probably business 101 lol
I can't speak for anyone else, but I *can* confirm that the rhythm of the page is absolutely in the forefront my brain as I write comic scripts and the artist I work with's brain as he letters. Regarding the full stop of the end of the page, a guiding principle I follow, that I think I picked up from Bendis's book on comic writing, is to always end each page asking a question in some form or another to keep readers curious and heading to the next one. It's interesting because such a consideration would never be a part of a traditional novel, but the task of "overcoming" the full stop of a page does feel present in comics. Internal to a panel, when writing scripts, I definitely number each balloon of dialogue with the intention that that's the left to right (and/or top to bottom) order they appear. It makes a difference if the "BOOM" of the explosion is before or after the line "wait, where's the boom?" To me, paying attention to rhythm and figuring out which chunks of dialogue go in which balloon in what panel in which order is just as much a part of my job as a writer as what words are put inside said balloons. Then, when Taylor is laying out the page, he plans bubble placement starting in thumbs not only for readability but also with a design sensibility, since more than just order, the physical distance between bubbles on a page is also a factor in the rhythm of how their read. I think that's something that's really interesting that you speak to in the video is just how *visual* the punctuation of comics is. As much as there are periods, commas, paragraphs, and beats in other literature, comics are really the only one who's doing it "three dimensions". Or rather, two dimensions and the others are doing it one? Something like that.
Yeah, I think much of this is the basics of comics, but as much as it goes unsaid, we can shine a light a little more directly on elements on this...! Glad it was interesting!
Hey, and what about the gutter? I haven't read The Score yet, but I guess that the width of the gutter in between some panels also makes this sensation of punctuation.
Yeah, gutter width is important. There's less of this in The Score, so I focused it on three things that all kind of work in a similar way. We'll have some interesting gutter talk coming in the next Creator's Edition with André, which will be the next episode!
sleepyreader666 Always put my analysis as that of my own, and not gospel. Just discussing what I see on the page. The physical properties exist, Cooke’s approaches to units of narrative across a tier is clear through everything of his that I’ve read, as is the tendency to place the strong beat on the right side of the panel. So I’m just leading with what I see.
I miss this man every day. A true professional, artist and all in all a swell guy.
The more I look at his work, the more I think he truly was one of the very best. Which may seem obvious, but it just draws it out every time.
RIP. Such a clean and iconic style. I get nostalgic and reminiscent every time I see his work.
Yup, same.
Cooke was such an amazing storyteller.
So simple on appearance, but there’s a lot going on to make it so effective. Really good to learn from.
You have a grasp and clarity of how comics work that is astounding. I always look forward to your videos.
Ah, thank you :)
I recently read his Catwoman and I was marveled at how much he respects and understands the medium. He will be missed.
Im an animation artist who's starting her first graphic novel, and this channel is a blessing. I've come across videos that talk about graphic novels, but a lot of them don't discuss techniques to the depth that you do. These videos are super engaging, helpful and full of detail that i deeply appreciate, i feel like i can actually put what you discuss until practice for my own work. Subscribed, so glad to see more recent videos too, i need to catch up.
Truly A legendary artist.
Agreed!
I don’t leave comments very often on TH-cam (that’s only my second one overall) but your channel is simply awesome ! The amount of work you put in to communicate your passion is just exhilarating. Cheers from France and keep up the good work !!!
That's very kind, thank you!
Your channel is so criminally underrated, if there was some sorta comic book film school equivalent this is what should be thought. And probably business 101 lol
haha thank you! Glad you're finding it interesting.
I can't speak for anyone else, but I *can* confirm that the rhythm of the page is absolutely in the forefront my brain as I write comic scripts and the artist I work with's brain as he letters.
Regarding the full stop of the end of the page, a guiding principle I follow, that I think I picked up from Bendis's book on comic writing, is to always end each page asking a question in some form or another to keep readers curious and heading to the next one. It's interesting because such a consideration would never be a part of a traditional novel, but the task of "overcoming" the full stop of a page does feel present in comics.
Internal to a panel, when writing scripts, I definitely number each balloon of dialogue with the intention that that's the left to right (and/or top to bottom) order they appear. It makes a difference if the "BOOM" of the explosion is before or after the line "wait, where's the boom?" To me, paying attention to rhythm and figuring out which chunks of dialogue go in which balloon in what panel in which order is just as much a part of my job as a writer as what words are put inside said balloons.
Then, when Taylor is laying out the page, he plans bubble placement starting in thumbs not only for readability but also with a design sensibility, since more than just order, the physical distance between bubbles on a page is also a factor in the rhythm of how their read.
I think that's something that's really interesting that you speak to in the video is just how *visual* the punctuation of comics is. As much as there are periods, commas, paragraphs, and beats in other literature, comics are really the only one who's doing it "three dimensions". Or rather, two dimensions and the others are doing it one? Something like that.
I thought you were going to talk about Jack Kirby ending every speech bubble with an exclamation mark.
Haha! Not this time!
Seems mundane and pretty obvious, but I did learned quite a bit! Thanks for this!
Yeah, I think much of this is the basics of comics, but as much as it goes unsaid, we can shine a light a little more directly on elements on this...! Glad it was interesting!
Great video, thanks))
Cheers!
Which edition of The Score is this? The Parker books I've seen always had blue-ish tinting, this looks interestingly different in that warm yellow..
Good video as always...Darwyn T_T
Thanks!
Definitely miss Darwyn. Wish he did a story for Marvel, Dark Horse or others.
He did a very, very small selection of Marvel stuff. Spider-Man Tangled Web, and he pencilled an issue of Milligan's X-Force, too...
@@StripPanelNaked COOL!
Hey, and what about the gutter? I haven't read The Score yet, but I guess that the width of the gutter in between some panels also makes this sensation of punctuation.
Yeah, gutter width is important. There's less of this in The Score, so I focused it on three things that all kind of work in a similar way. We'll have some interesting gutter talk coming in the next Creator's Edition with André, which will be the next episode!
@@StripPanelNaked great! Lookin' forward!!
Most of this analysis is fiction.
sleepyreader666 Always put my analysis as that of my own, and not gospel. Just discussing what I see on the page. The physical properties exist, Cooke’s approaches to units of narrative across a tier is clear through everything of his that I’ve read, as is the tendency to place the strong beat on the right side of the panel. So I’m just leading with what I see.