Princess of the Pleiadians.
More of the same!
I have begun working on a new tutorial; once all of drawing the head has been posted, the next tutorial will be on drawing hands.
Perspective in Storytelling 26
I’ve got some more examples of curvilinear perspective for you!
First, we have a Madame Xanadu spread—Xanadu’s sister surprises her with an attack! And we as the audience weren’t prepared at all, which is why we have to “turn our heads” in order to follow the action. It also helps lead to the next panel, which is always the big challenge with double-page spreads.
Next, we have a Rocket Girl panel. The curvilinear perspective is really subtle here, to the point that the reader might not be conscious of it, but I think it’s still effective. It has the effect of making the panel last longer, as if she’s been there a while. It’s the opening of the scene, and the slightly curved lines lead us into that scene.
Third is some Little Nemo goodness by Windsor McKay (thanks to Kaluta for the find!). He’s in a hot-air balloon, viewing the stockyards in Chicago. This type of perspective is GREAT if you want to draw a cool, expansive view. Nemo can see in every direction, and what better way to show that than curvilinear perspective? It has the added bonus of making the reader feel extra queasy.
The last image: probably the best use I’ve seen in comics is this panel from Joe the Barbarian, drawn by Sean Gordon Murphy. It’s an interior of a school bus, only now it feels longer and empty—Joe is totally isolated in the back of the bus by being on literally on a different plane. If you ever want good inspiration on perspective, rendering, or anything awesomely drawn, for that matter, he’s a great guy to follow. Not that you aren’t already!
What I think is great about ALL of these, is they all convey different moods. That said, anything can be done too much. If your panels constantly use fisheye or panoramas, you will slow the story down. Your readers will have to process your panels in order to follow them, and that takes them out of the story. It also divides the focus of any one image.
That, and it’s difficult to use. I would think it’s best to get the hang of other perspectives before you dive into this one, because you will have to rely on your own intuition in order to get it right.
MAN i wish i could draw like this!!! i can’t figure this shit out! thanks to Amy for helping to break it down.
Thank you, Ross! Although I feel like I’m not explaining it very well. Probably because I’m far from mastering it, and I don’t even know if there’s a good way to create a digital grid for it, or if eyeballing it’s better. Right now I’m just using it subtly, bending the lines as it gets farther from the perspective point.
Aside from that I’m just trying to observe so that someday I can process it well enough to master it. Like I notice these bottom two images look so cool because there are two 1-point perspectives in one image. Also, on all of these images, the bending is mostly only done in one direction. Like the bottom three only bend horizontally, and the top one only bends vertically. There’s this guy Kim Jung Gi who does a lot of fisheye lens where none of the lines are straight…you should follow him on Facebook because it’s very inspiring! I feel like it’s making it easier for me to visualize this stuff.
Perspective in Storytelling 27
By now I’ve gone through most everything I can think of to tell you about how to use perspective to tell better stories, except they’ve mostly been isolated panels. This is COMICS—the whole point of the existence of comics is that something magical happens when images are juxtaposed!
I felt inspired to do this series of perspective posts because I’ve seen a lot of portfolios at this point, and the #1 thing they all need to work on is their layouts. It’s so much more important than having pretty art. They don’t notice that the way they choose angles and cropping totally affects how clear a page is, and how well each panel leads into another. It’s a hidden skill…they don’t see the possibilities because they are too easily manipulated by what they read. So I am forcing you to see what can be tough to nail down.
In general, when I can, I try to make panels lead into each other. This can be in many forms…but mostly it’s that the perspective (in my mind) somehow points to the next panel.
In the first panel, the horizon line is tilted toward the top right. Random: when things are tilted, I tend to tilt toward the top right when the story has a “…?” feel to it, and I tilt down when something is confident, or powerful, or whatever. Anyway, that tilt also leads us to that insert panel 2, which we could easily lose otherwise.
Of course, now we’re stuck at the top right panel 2, but it’s easy to be lead down to panel 3 because panel 1’s got such a low angle. It makes us want to look down…after we give panel 1 a second glance. Made you look!
Panel 3 probably leads the eye the least, but it’s okay because it’s so clear. I used side view because it’s easier to show gestures that way, and I wanted to show her orientation a bit. Still, most lines point down to the next panel, and the horizon is lower than her head, which leads us lower, too.
Panel 4: She’s bending down to pick up masks. What better way to show that, than to A), draw at a high-ish angle—now she is below the viewer, and B), have the panel situated at the bottom of the page?
Panel 5: And of course, that sets up the next panel, which is taller, and leads the eye back up again, to go with the act of Eve standing up. We are now looking up at her from a low angle. This is an even page, meaning the page will be on the left when the comic is open. I always like it when I can manage to make the last panel of an even page lead the eye diagonally up again, so that people are ready to see the first panel of an odd page. And I try to have that first panel of an odd page work with the previous panel, too.
Keep in mind I’m using this page because it’s a GOOD example—my stuff doesn’t always lead the eye perfectly. Although in those cases I try to be very clear.
Notice that the bottom three panels feature Eve facing right. You want to try to keep the direction of action going left to right. Even the top two panels lead to the right in some form.
Also when you lay out a page, consider cropping heads and such. If every panel has the same amount of space above characters’ heads, it feels more station-to-station. Then of course, there are people who crop too much—this is usually on close ups—to the point that what we’re looking at is unclear. So try and figure out where you lie on that spectrum—are you too literal and need to crop more, or are you too vague and need to zoom out?
I think this is my last perspective post. Unless I remember something I need to talk about! Well, there will be at least one more; gonna provide an easy link and intro to the whole series. Thanks for reading and sharing!! I hope this has given you some direction and ideas.
For more perspective posts, click here.
the bright/rim lighting (i assume that’s what you’re after) is
-one screen layer (or can be some other additive layer idk) is just regular painted rim light
-duplicate that layer
-lock the transparency and color it whatever color (reddish orange usually for yellow light)
-unlock the transparency and gaussian blur it
Perspective in Storytelling 5
Heh. I like this panel. Three girls enamored with Eve’s male coworker and Eve thinks they are all ridiculous.
Here we use the stability and plainness of 1-point perspective as contrast. All three girls in the foreground are posed in some sort of diagonal, their minds in fantasy zone, but Eve is square and strongly grounded in reality. I also stuck the perspective point right on Eve’s face to emphasize that while she IS in the background, she’s still the focus. The tinwoman’s hat points to Eve as well.
For more perspective posts, click here!