#Visual Storytelling: The Art and Technique

[tomoleary]

Jim Steranko “Visual Storytelling: The Art and Technique” how to illustrate a comic book scene (1979) Source

“According to the consignor, it was illustrated in August of 1979 at a comic book convention, likely in the United Kingdom, where Steranko was demonstrating how to illustrate a comic book scene. The sequence is inspired by film noir and loaded with emotion and action. It begins with a man entering an office where another man and a woman are seated. The scene quickly elevates to violence with a gun being brandished and a punch thrown.”

[photosbyjez]

Daily Floral Delight: Origami Transformation of Daisies -- FOTD Jun 20

Check out my latest post for Cee’s FOTD – a patch of #daisies transformed into beautiful origami art using AI. Follow my journey of AI creativity! #AIArt #AIArtwork #AIArtCommunity

Hi all 👋 My latest post for Cee’s FOTD. With Cee recuperating, I’ll be posting flowers daily to give her a bit of floral delight (my version of a bouquet) 💐 Patch of daisies As with my latest Fan Of… post (see link 👇), I’m exploring some DALL-E AI preset styles for my edits. For today, I’ve done an origami transformation; I think these came out quite well. If you follow my blog, you know I’m…

[alhyari-art]

Creating Characters That Resonate: Some Tips for Memorable Designs

"While tools play a role, it’s our vision that truly matters”

You know that feeling when you see a character from a game, a painting, or a comic and you instantly fall in love with it? It's not just because it looks cool or cute. It's because it has a personality and a story that shines through its appearance. That's what I love about character design: the ability to create characters that make people feel something.

If you are interested in learning the basics of this art form, there are many resources available online 😅. (I will create some tutorials on this soon.) But now I'm not here to lecture you on anatomy or color theory. Instead, I'll share some of my personal tips on how to make your characters unique and engaging for your audience.

Tip 1: Dive Deep into Your Character’s World

Kickstart your design process with inspiration from your own world. This personal touch not only enriches your art but also adds depth and more meaning to your creative process.

Consider this school bully who is based on.. a person I used to know. He’s probably off picking his nose when he’s not on the page! Can you spot him?

See the bully's backpack 😈? (Illustrated for Swish! by Mahmoud Elzein.)

It’s all about discovering those tiny personal connections that breathe life into a character. Brainstorm with character profiles, create mood boards, and try to figure out “what’s in their pockets”. I’ve found that writing dialogues for my characters helps me visualize their personalities better. Honestly, half the time, I’m imagining how they would annoy each other offscreen!

Tip 2: Play with Shapes to Highlight Inner Conflict

To emphasize a character's inner turmoil, you can use contrasting shapes. By smoothing the edges of sharp shapes, you can reduce the contrast and reveal different aspects of the character.

“Good or bad?,” I always ask my students.

Experiment with different sizes and shapes and make your characters captivating enough that your viewers accept the visual logic of your art worlds.

Imagine a gorilla 🦍 and a bee 🐝 as friends in a picture book. How would you draw them in relation to each other?

A good way to enhance the narrative and ease the tension is to break down the character shapes. For example, the bully in Swish! looked threatening at first, but I used his soft facial traits to show his insecurity. I also gave him a loose shoelace to imply that he is not totally in control.

Even the smallest details can tell a story about your character. (Illustrated for Swish! by Mahmoud Elzein.)

Tip 3: Harness the Power of Color and Value

Contrast is key! Opt for vibrant characters against muted backgrounds, experiment with warm and cool tones, and introduce pops of light against deep shadows for visual drama.

Contrast and lighting for drama.

Challenge yourself with limited color palettes. This forces you to think creatively and adds an unexpected layer of unity to your work. For the ‘Museum Heist’ piece, I used shades of blue, and it was gratifying when viewers, even those not from the art world, noticed how it influenced the piece.

The blue tones were a fun challenge 💎

Tip 4: Sprinkle in Details and Accessories

I take sneaky joy in hiding personal details within my illustrations. Maybe it’s my old license plate or a memento from my parents. Details like faded scars and mended clothes add layers to your characters and imply a history, giving them more depth.

Can you find all the hidden secrets in Ella the Gorilla's room? 🔎 Let's play in the comments! (Book by Mawya Alfadda and Rama Al-Sahreef)

Tip 5: Push the Boundaries with Expressions

Imagine yourself as the director of the scene and your characters as the actors. Hire the best actors and make sure they come with the best: pose, gestures, and outfit, and nail the whole performance.

Don’t just copy the reference! Exaggerate those eye positions, play with asymmetrical half-expressions – this keeps things lively and adds charm.

Never be afraid to push your reference photos for more whatever-you-call-this characters! 😄

Tip 6: Seek Feedback and Refine

Discord and Telegram groups have been invaluable for me – asking targeted questions (like “Does anything feel off?”) gets me feedback way beyond just “looks nice!”.

How people interact with your WIPs speaks volumes. Don’t just listen to words, watch how long they engage and which elements draw their eyes.

My wife and kids are a great help, especially for children’s book and game art. They notice what I often overlook. I sometimes get annoyed when they don’t like something (I worked on for long), but I know it’s not personal. After all, they’re the best early test for my work.

Bringing It All Together

Character design isn’t just about drawing – it’s about infusing them with personality and emotion that resonates. Let’s keep the conversation going! Share your favorite character design tips in the comments below 👇

[tmarshconnors]

Shin-hanga.

Shin-hanga, or “new prints,” represents a revival of traditional Japanese woodblock printing techniques in the early 20th century. I’ve always been drawn to this art form for its stunning beauty and the stories it tells.

Shin-hanga artists, influenced by Western art styles, combined traditional Japanese aesthetics with modern techniques. The result is a unique blend that captures the essence of Japan’s landscapes, people, and culture.

Each print is not just a visual feast; it also reflects the artist’s perspective, showcasing Japan’s rich cultural heritage. Studying shin-hanga allows us to appreciate the intricacies of printmaking while also understanding the socio-cultural context in which these works were created.

[ai-innova7ions]

Revolutionize Your Art with Leonardo AI!

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By merging cutting-edge technology with our creative fervor, Leonardo AI enables artists and designers to bring their visions to life. It injects depth and vibrancy into our projects, making it perfect for those looking to elevate their creative endeavors. Discover how this AI-driven toolset offers an unparalleled environment for artistic innovation!

#LeonardoAI #ArtisticInnovation

[bettreworld]

Moving from a 2D space to 3D with Emma Ridderstad

[notherpuppet]

I LOVE READING YOUR NANNY AU!! The writing and art is amazing!!

Though how you get the dialogue so perfect!?!? I'm trying to do a comic series but I can't do the writing right.

May you please share some tips?

I want to actually be helpful with this, because I looove writing dialogue. It’s my favorite part of the storytelling process. I’ve written works with and without internal dialogue and I like both. It just depends on how much I want the reader to know. Anyway, here’s some advice?

1. Study techniques from media you like

I study scenes from favorite films/tv shows. And there are many YouTube channels that are great resources for writing, but I’m most partial to “Studio Binder”.

This is a great video on dialogue.

Because I write for comics most of the time—rather than prose—I find advice for tv and film to be more helpful because it incorporates the techniques in a visual storytelling medium. But I’d recommend studying technique for the storytelling medium you’re partial to as well. I have several books on comic book storytelling and have studied comics and manga the most in my life haha (cuz I’m a giant fucking nerd).

2. Workshop dialogue to fit the character and scene

Dialogue can change a lot from my first concept—where I want to convey the necessary information—into making it sound “in character”. So I study the writing of the show of course to pick up on the characters’ quirks and unique ways of speaking.

Example:

Carmilla Carmine is bilingual with Spanish/English and it seems that as a character, Spanish was her first language. So some traits she may have are:

1. To confirm her ideas ending with a “no?” Instead of saying “right?”

2. Slipping into Spanish when she’s ‘thinking out loud’.

Then I’ll read aloud a scene to see if it sounds right. Often, this is when I’ll notice if the dialogue seems repetitive or awkward.

3. Touch grass, go laugh, have fun

Also, I’m sure my very chaotic but-hilarious-family members and friends help me with writing dialogue so make sure you take the time to hang out with people lol!

It’s true what they say about drawing inspiration from real life 👥🌎

Hope that’s helpful 🥰

[ultimac]

CLİPART - DRAGON+ (5)

The historical development of farm clipart has evolved significantly over time, reflecting changes in artistic styles, technological advancements, and cultural influences. Initially, farm clipart consisted of simplistic and rudimentary drawings of basic farm elements such as barns, animals, and crops. As graphic design tools and techniques advanced, farm clipart became more detailed and realistic, capturing the essence of farm life with greater precision and creativity. With the rise of digital platforms and online marketplaces, farm clipart has become more accessible and diverse, offering a wide range of options for designers and creators to incorporate farm-related visuals into their projects. The evolution of farm clipart mirrors the evolution of farming practices and the agricultural industry, showcasing the deep connection between art, technology, and cultural representation in visual storytelling.

Similarly, the evolution of history clipart has followed a trajectory of innovation and adaptation to changing artistic styles and educational trends. Historically, history clipart primarily featured iconic historical figures, landmarks, and events depicted in a simplistic and educational manner. As digital platforms and educational resources developed, history clipart expanded to include a broader range of topics, styles, and visual interpretations. Modern history clipart encompasses a diverse array of historical themes, from ancient civilizations to contemporary global events, catering to the varied needs of educators, students, and enthusiasts. The evolution of history clipart reflects society's evolving interest in history, visual literacy, and the power of imagery to convey complex historical narratives in a compelling and informative way.

The trends in food clipart styles have undergone a transformation in response to changing culinary preferences, design aesthetics, and cultural influences. Initially, food clipart featured traditional depictions of common food items such as fruits, vegetables, and dishes in a realistic and straightforward manner. However, as culinary diversity and visual storytelling evolved, food clipart began to incorporate more stylized, artistic, and thematic elements to convey the richness and diversity of global cuisines. From minimalist food illustrations to vibrant and whimsical food compositions, the trends in food clipart styles reflect the fusion of creativity, technology, and culinary appreciation in visual design. By exploring different food clipart styles, designers and content creators can enhance their projects with visually appealing and culturally resonant food imagery that engages and inspires audiences.

[s-soulwriter]

Hello , here are some really basic writing tips.

Intriguing Openings: Start with a bang! Drop your readers into the middle of action or create a mystery that begs to be solved. Make them curious from the first sentence.

Character Backstories: Dive deep into your characters' pasts. Share their quirks, secrets, and defining moments. Readers love discovering what makes characters tick.

Sensory Descriptions: Paint a vivid picture using all five senses. Describe the smell of freshly baked cookies, the feel of a soft summer breeze, or the taste of a sour lemon.

Plot Twists: Keep your readers on their toes with unexpected plot twists. Surprise them by turning a seemingly predictable story into something extraordinary.

Cliffhangers: Leave your audience hanging at the end of a chapter or post. A well-placed cliffhanger will have them eagerly awaiting the next installment.

Metaphors and Similes: Add color to your writing with creative comparisons. For example, "Her smile was as bright as a thousand suns," adds a vivid and poetic touch.

Character Relationships: Explore complex dynamics between characters. Highlight their conflicts, alliances, and the evolution of their relationships throughout the story.

Symbolism: Incorporate symbols or motifs that carry deeper meaning. They can enhance the overall theme and give readers something to ponder.

Narrative Voice: Experiment with different narrative voices, such as first-person, third-person limited, or even second-person, to find the one that suits your story best.

Foreshadowing Mysteries: Drop subtle hints and clues early in the story that will become crucial later on. Readers love piecing together mysteries.

Unreliable Narrators: Consider using an unreliable narrator to keep readers guessing. They might misinterpret events or hide critical information.

Flashbacks as Puzzle Pieces: Use flashbacks strategically to reveal key aspects of the story or characters. Make them fit together like a jigsaw puzzle.

Dialect and Dialogue: Give characters distinct voices through their speech patterns and accents. Engaging dialogue can showcase personality and culture.

Emotional Rollercoasters: Take readers on an emotional journey. Make them laugh, cry, and experience every emotion alongside your characters.

Settings with Personality: Make the setting almost like another character. Show how it impacts the characters and the story's mood.

Evoke Empathy: Share characters' vulnerabilities, fears, and desires. Readers relate to flawed, authentic characters with whom they can empathize. Let them fail.

Experiment with Structure: Play with non-linear timelines, multiple perspectives, or fragmented narratives. Challenge traditional storytelling conventions.

Clever Wordplay: Incorporate puns, wordplay, or clever language usage to add humor and depth to your writing.

Cinematic Scenes: Write scenes that readers can visualize as if they were watching a movie. Use dynamic action and vivid descriptions.

Leave Room for Imagination: Don't spell everything out. Allow readers to use their imaginations to fill in some blanks.

Remember that storytelling is an art, and there's no one-size-fits-all approach. You can use these techniques to improve your unique style and the story you want to tell. Most importantly, have fun writing.

And remember to drink enough water!

If you want to have more of this , than click below and follow me.

[howtofightwrite]

I'm writing a scene where a cultivater (chinese martial artists who fights ghosts) falls in a forest and I'm trying to figure out how someone who fights on rough terrain would train to fall. I tried looking at martial art/parkour/stunt man tutorials, but I feel like a lot of the basic techniques (rolling, and slapping the ground to distribute weight) wouldn't work well on uneven ground. I also tried looking at hiking advice but they just say to fall on your pack. Any insight?

Chinese cultivators don’t fall, they choose to reacquaint themselves with the ground.

That sounds like a joke, but the best way to understand Chinese cultivators and Chinese fantasy media is to realize that martial arts are the gateway drug to magic. And that will get you into a lot of trouble if you follow that all the way into Martial Arts Give You Superpowers, which is both the outgrowth of the western understanding of Chinese culture and a trope rife with orientalism. Cultivation seems simple on the surface when you’re watching Chinese media, but it’s more than martial arts, it’s more than religion, it’s more than mythology, (though it is all of those too) it’s a genuine transition into metaphysics that reorients how we understand and interact with the world around us. The concepts we see in cultivation come from real martial arts philosophy that you find in Tai Chi, Shaolin, and most other Chinese martial arts. They come from real religions including Daoism, Buddhism, a healthy dose of Confucianism, general mythology and mysticism from a wide range of subcultures, and, to an extent, Animism. If you aren’t doing your reading with the Eight Immortals, Journey to the West, The Legend of the White Snake, and others then you should dig in. I also really suggest watching the live action C-Dramas whether they’re true Wuxia or more Xianxia idol dramas (and in this case the idol dramas are better because the action is slower) so you can acquaint yourself with the stylized martial arts portrayals, a wide variety of choreography, character archetypes essential to motif based storytelling, and the most important aspect of all—wire work.

Understanding and conceptualizing stunt action done on wires is essential when you’re trying to visualize and create action scenes in any East Asian genre. Your first instinct might be to dismiss the stylized movement as unrealistic (it is) but remember that it’s also genre essential. Hong Kong action cinema has a very specific feel to it that’s very different from the way Western cinema structures and films their fight scenes. Even when you’re writing, you’ll want to find ways to imitate it through your visual imagery on the page.

Probably the best way to contextualize cultivators is that they’re wizards who do martial arts. They’ve learned to transcend the limitations in our understanding of reality through knowledge and study to perform superhuman feats. How superhuman? Well, it gets wild. They can be anywhere from Crouching Tiger, Hidden Dragon/Who Rules the World fly through the trees levels to Shang Tsung’s “I’m going to slam my hell reality into your normal reality because commuting to work is too much of an inconvenience.”

Which is to say, they don’t always fight ghosts. Sometimes they fight other martial artists, sometimes they fight other cultivators, sometimes they fight demons, sometimes they fight gods, and sometimes they fight incredibly overpowered monkeys. They’re often monks living in seclusion on a mountaintop, but not always. Cultivation is more of a state of mind. Anyone can do it if they learn how to absorb spiritual energy from the world around them through meditation and breathing exercises. Gods cultivate. Humans cultivate. Animals cultivate. Remember, the demons and the ghosts cultivate too. Sometimes, your master gets reincarnated as a demon. Sometimes, you do. The amount of wacky spellcasting you can do is dependent on how much energy you’ve cultivated, which is dependent on how old you are and how good at cultivation you are. Using the power means you need to cultivate more energy, the greater the spell or difficult the battle then the more energy is lost.

This is important to the question of: how does a cultivator fall?

Metaphorically? Existentially? Physically?

When we’re talking physically, wire work becomes very important. Think of your cultivator as being on wires. If they have the knowledge and understanding to do it, they can slow their own fall through the air to land harmlessly on the ground or twist over like a cat and launch themselves back off the ground to fly at their opponent in a counter attack. If they have the knowledge and understanding, they can teleport. If they lack the knowledge and understanding or want to trick their opponent, they can hit the ground like a sack of potatoes. If they’re relying on basics, they can also smack the ground to counter and spread out the impact then use the momentum from that fall to roll back onto their feet. They’ll do it no matter what terrain they’re on because it’s a basic technique that’s trained into their foundation to the point it’s a reflexive action. Any force distributed away from, and reducing impact on, important body parts like your spine is better than nothing. It’s better to sacrifice your arm than be paralyzed. At its heart, that’s the point of the technique. If you’re able to walk away with a functioning spine, it’s done its job. Your shoulder hurts? That’s normal. Your arm is sprained or broken? Sucks, but that’s better than the alternative that is paralysis and death. For reference, learning to fall was the first lesson my Wushu instructor ever taught me. It is that basic.

A lot of the time when portraying cultivators in media, the goal is to show them as being beyond the limitations of standard martial artists. How vast the gap is between the cultivator and the average human is dependent on both the setting and the cultivator. So, the average martial artist who possesses superhuman talents but hasn’t dedicated themselves to a life of cultivation and cultivators who are new to the path are going to be on the rung below and more likely to be knocked on their ass. Cultivators in the mid-range are more likely to have crafted or trained in solutions to being knocked on their ass which put them in a less vulnerable position while recovering and empowered/enhanced their martial arts. Cultivators in the top tier are usually straight up masters at spellcasting, if they deign to fight at all. Gravity need not apply. Rember, the time it takes you to hit the ground and roll to your feet is time your opponent has to launch a counter attack or move to a better position. Also, it means you’ve taken your eyes off your opponent. This is bad enough against a normal human opponent. Against another mostly immortal or ancient magic user this risks a terrible outcome.

Cunning and strategy are both as important as skill. Wisdom, knowledge, and hard work outweigh talent and raw potential. You’ll have to decide how esoteric you want to be and what limits you want to set. I really urge you to do this because the danger of power creep is real and especially prominent here. A character’s growth in power is often linked to their growth in character or their arc, as they gain a greater understanding of themselves and the world around them their skill increases. The self-discovery/self-reflection/self-interrogation/intense suffering to reach enlightenment portion is just as important and intrinsic to the martial arts portion of Martial Arts Give You Superpowers. It’s easy to focus on the Superpowers or the Martial Arts parts of the equation and miss the genre necessity of character growth. This growth often happens through heaps of steadily increasing trauma. Or, failing to undergo that by being too powerful and thus unable to progress is the joke like it is in Qi Refining for 3000 Years. (Go to hell, Bai Qiuran, you hilariously overpowered monstrosity.)

The irony is that the trajectory in character growth is the same trajectory the average student experiences when practicing martial arts. The only difference is that the power arc is inflated. This includes overcoming ingrained truths that you believe about yourself, about your own abilities, what you believe yourself to be capable of (both good and bad,) about your biases toward yourself and other people, your biases about reality in general, your understanding of good and evil, the potential upending of right and wrong, and facing the greater complexity found in the world at large. The stripping away of these illusions, coming to terms with uncomfortable realizations in a more complicated world, and the gaining of new understanding and confidence are vital to that growth.

Skill isn’t just represented in the power creep, it’s also found in a character’s sophistication and complexity in their approach to combat and life in general. Their awareness both of themselves and of other people, their ability to read intentions, their predictive abilities, their complexity in initiating their own strategy and tactics while also recognizing and countering the plans of others. It’s their insight into human nature and their cunning. It’s not enough to be powerful. The world is full of powerful people and not so powerful people who have the capacity to be just as dangerous. This isn’t Goku and Freeza slamming into each other while the planet explodes in nine minutes. You also need to be smart. It’s also not about being a better person. It’s about being a self-aware person. A person who is self-actualized. Monkey’s growth is in his awareness of the world around him through his experiences and in approaching problems differently rather than becoming less of a little shit. If you grow up in the West, one of the issues you’re going to face is thinking of these hurdles as materialistic rather than emotional or intellectual.

A lot of Western media misinterprets the concepts of “giving up” as physical sacrifice. One of the popular examples is physically sacrificing the person we love. In order to have enlightenment, we must be separated from them. We can’t physically be with them anymore. Whereas under a Buddhist structure, what we are actually sacrificing is our own ignorance, our own preconceptions, and beliefs that keep the world comfortable. Under this structure, we’re sacrificing our preconceived notions of who our loved one is. The person that we invented when we first met and we must force ourselves to come to terms with who they really are. The outcome of this isn’t necessarily going to be bad, but it’s still painful. The person we think we love could be perfectly wonderful. However, they’re not who we imagined. If we choose to hold onto the illusion we created, to ignore the realization that the illusion is the person that we love, we’ll only end up causing ourselves and our loved one more pain. We must fall in love with them all over again. Coming to terms with that is painful. All pain comes from ignorance. In sacrificing, letting go of, or overcoming our ignorance, we grow.

These are the emotional, intellectual, and spiritual challenges necessary for a cultivator because they allow the cultivator to level up. Yes, level up. Whether this is coming from the influx of gaming culture into media at large or because the concept synergizes with the Buddhist goal of progressing through the Six Realms toward nirvana, leveling up is how a cultivator’s increasing power is often depicted. Of course, once we reach the next level we can’t go back except by falling or failing and are no longer the person we once were. This then gets mixed in with Daoist principles of finding divine understanding by living in harmony with the universe. The more understanding we gain of the world, the more energy we can absorb as a result, but our original goals may be lost or changed in the process. If a character begins their journey on the path of revenge, their newfound contextualization of the situation that caused them immense pain may force them to give that revenge up or find they don’t want revenge anymore.

Failure is also an option and often a common part of the story. These stories usually follow characters through multiple lives and rebirths over hundreds and even thousands of years, especially if they’re also gods. This is the existential fall. The fall to the Dark Side. All our heroes are going to go through it at least once. This is also why a lot of Chinese media ends in tragedy with hope for the next round.

-Michi

This blog is supported through Patreon. Patrons get access to new posts three days early, and direct access to us through Discord. If you’re already a Patron, thank you. If you’d like to support us, please consider becoming a Patron.

[earthlyimaginings]

Art I made of my VtM oc’s sire, an elder Tremere of House Carna. She was created by my GM/storyteller and he asked me for a visual of her so I had fun making this for the game. Art I made using clip studio (I have now purchased better brushes and am trying some different digital painting techniques, but I still like this one!)

Fun fact, my oc (Moraina) is the only one in our coterie who still has a relationship with their sire.

[photosbyjez]

Great Masterwort: FOTD Dec 31 with Magical AI Artistry

Step into Jez's world where photography meets AI magic! 🌼✨ Explore our frosty days warmed by the sunny charm of Great Masterwort. See the transformation on our latest FOTD Dec 31 feature. #AIArtistry #PhotosByJez #aiartwork

Hi all 😃 My latest post for Cee’s FOTD. I am delving into my archives for warm, sunny shots during these frosty days. The Great Masterworts featured over the next couple of days are white (those last featured were pink); this led to a different feel for the images once enhanced. Any of you following my blog, will know I’m currently working on a project fusing my own photography with AI…

[feetpiclovers]

In this video, we'll share invaluable tips on engaging with feet enthusiasts and buyers on FeetFinder, the ultimate platform for connecting with individuals interested in feet content. If you're looking to explore the lucrative market of selling feet pics or are simply curious about engaging with feet pic buyers, you've come to the right place!

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Learn the secrets to attract and captivate buyers by leveraging compelling descriptions, stunning visuals, and engaging storytelling. We'll explore the importance of quality in your feet pics, crafting enticing captions, and optimizing your listings to stand out from the competition. Additionally, we'll address common concerns and provide tips on setting fair prices and negotiating with buyers.

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Make sure to subscribe to our channel for more valuable insights, tips, and tricks to elevate your feet pic-selling game. Stay tuned as we equip you with the tools you need to become a master in engaging with FeetFinder buyers!

[evercelle]

Do you have tips on storytelling in art?

that's pretty broad, so it's a little difficult to answer... do you mean in illustration, or comics? in terms of developing narrative, or using any specific techniques to express it?

for a general answer, i think art is similar to writing in that every decision you make is the same as choosing what words go on the page... if drawing is a series of decisions (how do i pose the character? what expression do they make? what style will i render in? what linework do i choose? lighting? color palette? what parts are shown, and not shown? what movement is implied? what objects are interacted with? what background, what context?), the way to think about each is decision is "how does this contribute to the story & feeling i want to express"... sorry if that's not very helpful lol. but i do think the most important part is know *what* you want to say first--the rest is practicing & learning execution to get there

it might be helpful to start saving pieces that evoke strong narrative & emotions to you, subdivide them (e.g., by emotion, by similar story beat) and study what *about* those pieces successfully delivered that emotion to you. it's a great way to see common techniques in action, or to expand your own visual library o:

[chaos0pikachu]

Cinematography?? In MY BL??? Not as likely as you think.

TLDR: it's a joke!!! but also legit sometimes I see "cinematography in bl" and it's just some basic pictures with mid-tone lighting and blue t-shirts. Let's talk film terms like: aperture, panning, tilting, and movement in film so we can see what goes into cinematography (with sources!). Also if I name a show you like as "boring cinematography" don't send me hate mail I'll laugh

(examples used: Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign)

If I name a show you like in this post as "bad cinematography" be chill about it, like, I ain't saying you can't like it, I'm just talking about techniques here not personal likability or overall show quality. I like badly filmed shit too say hello to my collection of Friday the 13th Blue Rays we're just here to talk techniques and like, educational stuff okay?

So the straight (heh) textbook definition of "cinematography" is: the art of making motion pictures. Which, frankly, tells you nothing. Like it's not wrong~~ but it's not informative either. Cinematography covers a lot of what we, the audience, visually see on screen:

"Cinematography is the art of photography and visual storytelling in a motion picture or television show. Cinematography comprises all on-screen visual elements, including lighting, framing, composition, camera motion, camera angles, film selection, lens choices, depth of field, zoom, focus, color, exposure, and filtration." (source)

So let's talk movement in film.

So when I talk about movement, what do I mean? I mean the way the camera, the characters, and the environment moves within a frame.

This video on Akira Kurosawa's usage of movement in a scene is brilliant:

Something as simple as having rain or fire in the background of a shot can enhance the emotions of a scene vastly. it gives the scene depth - literal depth, not narrative depth - that would otherwise be missing.

The way the camera moves and transitions leading the viewers eye back and forth makes what you're watching more engaging. You aren't consuming these scenes, you are engaging with them. They are apart of the story itself, giving the environment life and texture so the characters within them matter more.

And, look, I get busting out Thee Akira Kurosawa might be unfair, but if we're gonna talk cinematography we can't not talk the importance of movement on film.

To understand good cinematography you have to understand what makes it good and as such what makes bad or mediocre cinematography.

In connection with movement we gotta talk about camera techniques like panning and tilting:

"Camera movements are a fundamental part of video production. They can be a powerful storytelling device, heightening tension, evoking emotions, and bringing the viewer into the action. Without saying a word, camera movements can transform a scene’s entire narrative, and direct audiences’ attention where you want it." (source)

So we have movement of environment, of characters, and we also have movement of the camera itself.

Ok so like, where does the BL come in Pikachu??

I'm getting to that, I'm going to start with a more general example: Our Skyy 2 (Bad Buddy meets 1000 Stars edition) vs Kinnporsche.

Starting at 5:17 we have Pran stranded or whatever, and this shot is like, it's fine. It's boring as hell, but fine. Why is it boring as hell? Well it's flat, it lacks movement, it lacks depth.

When the driver drove off the camera could have panned to follow his movement and then panned back to Pran at a different angle to showcase his isolation. Honestly since the scene starts with a mid close up of Pran, I would have had the camera behind Pran as the driver drove away, and had the camera pan around Pran 360 so we get shots of his environment, and him, while also emphasizing holy shit he's like, fucking stuck in the wilderness. 

In general, there's a big lack of movement in the scene. The camera remains almost entirely static, there's no attempt at zooming in or out, following Pran's movement, or showcasing his environment in any meaningful way. Even when Pran begins walking towards the camera the angle of the framing is still centered, rather than tilted downward or upwards to give us more dimension (non-BL comparison, the Book of Eli starring Denzel Washington does the "walking towards the camera" shots really well).

We get a cut of a medium close up of Pran, with a deeper focus so his environment is blurred out.

I understand the thought process of this shot, we want the audience to focus on Pran, but if the point of the scene is to emphasize he's alone, confused, maybe even a bit anxious at his new circumstances it could've been done better. Take a wider shot from this angle, open up the lens to allow for that background environment to come through and show him isolated. Maybe do a pan above him or tilt the camera up going from his feet up as he nervously ruffles his hair. There's options here.

This just adds more walking to the scene, which we already had. It doesn't enhance or emphasize anything about Pran's emotions as a character.

Anyway the camera continues to follow him and then we get another cut. And it's from the same angle as before, only this time we see a truck coming. The camera remains static, it completely stops moving, and we just wait for the truck to drive into the frame.

This whole sequence of events ends at 5:57 and while not a long sequence I find it frustrating because it's boring. The only way the audience knows that Pran is anxious is via Nanon’s acting, there’s nothing in the filmmaking that enhances or contributes to that feeling.

He’s alone, until he’s not, and that’s all the scene tells us. It leaves the scene lacking any tension as well, because we’re not getting a sense of isolation - how large is this space? How alone is Pran right now? What is the entirety of the environment? 

Contrast this with a similar scene in kinnporsche ep06 where Kinn and Porsche are alone in the mountains. I don't have a video of this specific scene so I have to link the trailer, starting at 1:48 to 1:52, but see how we start mid-close up of Kinn and Porsche, then pan out from above them? This is a better showcasing of just how vast the environment around Kinn and Porsche are.

They're still center frame throughout all of this, the depth of the scene is in mid-focus so nothing is blurred out and you can see the sharpness of the environment.

It also places the audience in the same space as Kinn, who is looking up at the sky while the audience looks down at him. It makes the audience a more active participant in the shot, emphasizes the state of the characters, gives the audience a sense of space & environment, and relies a sense of emotion.

The additional fast zoom out also adds to the scene by adding movement and making it more dynamic.

(my man pran looking like this 🧍)

Both these scenes are pretty short, but they're relaying similar information and one is way more dynamic and effective than the other. Both Pran and Kinn/Porsche are alone in the wildness, but in the latter there's a lack of space, a lack of movement, and a lack dimension. This is mainly a framing issue, so let's talk more about camera movement (panning, & tilting).

Here's a scene from 2gether vs a scene from Semantic Error.

(saw someone say 2gether had a high production value and chepie where??)

This entire scene with Sarawat and Tine is flatly shot. There is nothing in their background so no outward movement is happening, the lighting is even as are the colors, everything is at the same depth, and there's little to no motion in the camera.

The scene with Sarawat pushing Tine into frame. Why doesn't the camera follow Tine's motion of movement so the scene has more momentum? It just stops and the char falls out of frame before walking back into it. Then we get a series of cuts back and forth of close ups on Sarawat and Tine's faces. Back and forth, back and forth.

The editing leaves a ton to be deserved because if the back and forth did a quick pan back and forth with each beat we could build up tension, give the scene some texture, heighten the intensity of the argument. If we're going for something softer we could place them in on better set, or make the characters move themselves - have Sarawat walk away from the argument up those stairs, have the camera follow his movement as Tine chases him continuing the argument - or play with the lighting a bit, pan the camera down or tilt it something!

When Tine kisses Sarawat why doesn't the camera move with him in a more notable way? Why did we have a cut to a close up? And then we're back in a mid close up and more cuts and this editor is killing me!

This scene is 4mins long and the only engaging bit of filmmaking here is when the camera follows Tine when he steps closer to Sarawat putting the latter in the frame at 3:15, the entire scene is 4 minutes long.

I want to compare this scene to this scene in Semantic Error which is also all dialogue and also obviously filmed on a shoestring budget.

So right away the camera work here is smart, it starts off in an establishing shot, evenly lit, of Sang Woo and Jae Young both in the frame. Then we get a mid close up of JY looking down, then a tight close up of JY looking up.

The change in camera angle emphasizes his surprise at seeing SW here as he looks up at SW. The lighting has also changed, it's much brighter now. The camera also begins to move, where it was static before it begins to tilt and shift.

We get a cut to SW, the first one of this scene. JY is seeing SW in a new light for the first time, and as such so is the audience. By starting the scene off in an outward shot with both chars in the frame, they are placed on the same level and the audience doesn't see their expressions up close. So when we're hit with JY's close up of surprise and then SW's close up of his wet hair it holds way more impact. It enhances the feelings of JY's character for the audience.

The lighting behind SW has also changed, it's much brighter, and warmer compared to the cooler tones of light behind JY. The camera also slows, and continues to to tilt and shift. JY's world has literally been shifted on his axis.

We get another cut, this time medium on SW and notice, the camera stops moving for that moment and the light around him dims. It's not as saturated. We're moved out of JY's pov here and back into "regular" framing.

SW tries to make JY leave, we get a close up cut of the cut on JY's arm - hey editing used to display important and new information! - then the camera cuts to SW getting medicine and here's a small but important thing, when he tosses at JY the camera follows his movement. And instead of cutting away, when JY gets up thinking SW is hurt, the camera follows JY's movement back towards SW.

It would have been easy to make a cut there back and forth - like in the 2gether scene did over and over - but following the movement of the characters makes the scene way more interesting visually to watch.

Changing the angles of the camera from a lower angle (where JY is looking up) to a downward angle (where SW is looking down) makes the scene more interesting visually as well and enhances the storybeat of JY looking up at SW in a new light memorized. This contributes to the story as well, as it's JY who catches feelings for SW first so their are literally, on uneven ground until they're not later in the story. The camera is panning, tilting, moving with the characters even given the limited space. The lighting adds to the effectiveness, as do the minimal cuts.

On a technical level, the scene in Semantic Error is just better filmed. In my own opinion, the scene is far more engaging b/c the filmmaking is better, where in 2gether the reliance is almost completely on the actors to sell the scene with little help. And I'm not saying nothing about Bright and Win cause their stans wildin'.

Next, I wanna talk about aperture.

I saw a post that used this word and I didn't understand the context in which they were using it because aperture isn't a style of filmmaking its a camera setting or lens adjustment - it's the rate at which the camera opens and closes letting in light and focus.

"Aperture is the opening of the lens through which light passes. When you hit the shutter release button to take the picture, the camera aperture opens to the predetermined width, letting a specific amount of light through. A large aperture lets more light in, and vice versa. Aperture is calibrated in f/stops, written in numbers like 1.4, 2, 2.8, 4, 5.6, 8, 11 and 16. The larger the number, the narrower the aperture." (source) <- really recommend this article if you want to learn about aperture in film.

A great non-BL example of aperture used for style is One Piece Live Action where cinematographers Nicole Hirsch Whitaker, and Michael Wood love using deep focus aperture in a lot of scenes.

But let's compare The Sign vs 1000 Stars.

So when the scene starts, we're in mid-focus/aperture, everything is of similar sharpness and depth. Nothing is especially blurred out we're getting the full spectrum of Phaya and Tharn's environment.

When the camera switches to close ups of Phaya and Tharn however, we get a deep focus aperture. That's why everything behind them is so blurred out. In a close up of Phaya, even Tharn's face is blurred. The director wants the audience to focus specifically on these characters individually, so we can understand the weight of their dialogue. But when the camera wants us to see the characters as a unit, it cuts, pulls back out of that deep focus and everything is back in mid-focus again.

Here's another thing, it's subtle but it's important.

This scene also combines what we already discussed about movement. At :08 of the scene, in that first mid-shot the camera is actually zooming in closer on Phaya and Tharn. Not dramatically, subtly, but it is there. This is important, because at 3:23 we get another mid-shot of them, pulled out of that deep focus, and the camera begins to zoom out.

The camera also follows the movement of Phaya grabbing Tharn's hands, then pans back up to Phaya's face once again before panning higher into the frame and panning back to their faces and zooming in.

When we move back out of that deep focus, into a mid-shot the camera continues to zoom out on the two characters as they kiss.

I saw someone say that this scene wasn't "filmed like BL kisses" and, eh? Like it isn't filmed in that static style of filmmaking which has dominated BL filmmaking probably due to budgetary reasons. But

The Sign follows a similar filmmaking style as Kinnporsche and Domundi shows do. But also just like, basic filmmaking techniques you'd see in shows of the non-CW/soap variety.

The thing fans are seeing here is film technique (probably partially due to a larger budget). Movement, lens adjustment, panning and titling, lighting and color are all playing a role in this specific scene.

Cinematography baby.

(sidenote the VFX of The Sign is dope as fuck too)

Okay so let's talk Our Skyy 1000 Stars

So this opening scene follows a similar structure to the scene in The Sign: mid focus shot of the two chars, into separate deep focus close ups. It's also a dialogue heavy scene like the one with Phaya and Tharn.

So why does their scene work better on a technical level than this one in Our Skyy 2?

The scene in The Sign combines techniques of aperture, movement, lighting, color and framing to give everything more impact.

In this scene with Phupha and Tian we get a similar editing style as the scene in 2gether: lots of back and forth cuts, very tight close ups, static camera movement. Where as the camera zooms in and out during mid-shots, the camera doesn't move in Our Skyy 2. It remains motionless even though a zoom in as the two characters lay in bed would add a lot to the scene itself.

In the close ups the camera continues to remain static, only changing angles when there's a cut. At 1:22 Phupha moves his arm to wrap around Tian, the camera could have taken a closer shot at his arm, and then followed his movement as he wraps it around Tian. Like how the camera followed Phaya's movement when he holds Tharn's hand.

Instead it's just a flat shot, we see his arm wrap around in a mid-focus above shot. The camera does move to follow Tian a couple times - at 1:50 for example. But overall, the scene is stiff - who sleeps like this frfr - in framing, in movement, in depth.

I want to say that I don't think this scene is bad - like I do the 2gether scene or the earlier scene with Pran - I think it's just, okay~~

And no, for none of these examples did I pick "the worst" shots or whatever. I'm not out to get any specific show, but tried to find comparable scenes and compare and contrast the filmmaking techniques used in both and how effectively they were used.

I want to leave off with this.

There's a lot that goes into cinematography, yes this singular shot of Furiosa is amazing, but what makes the scene amazing?

Pay attention to how the camera moves (panning and tilting), when the camera moves (zooms in and out), the movement of the scene (the hair and sand moving), the lighting (Furiosa from behind is in darkness, her side profile more lit), the depth of the scene itself changing (as she walks away from the group the focus/aperture gets deeper on her, then when she walks out of the frame it grows larger to focus on the characters left behind).

All these little things make up what is "cinematography". The more you learn about the techniques used the more you can notice about film and what makes a scene powerful.

As BL gets more budget we're seeing shows expand their filmmaking catalogue more and more. Which is exciting! If fandom is gonna talk cinematography I think it's helpful to have the vocab to do so, and it's cool to watch a scene and be like "oh I see what they're doing here and why and how".

I mentioned other things that go into cinematography like framing, lighting, color, and there's also editing (which is separate). Idk if I'll make a post about those things cause I'm lazy and this shit takes forever to research and write but who knows~~

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]

[rad-roche]

Comic Books

Comic book roundup! that is to say, books about making comics. Though I'm always taking recs for actual comic books. So far this year, I've chewed through -

Framed Ink - Marcos Mateu-Mestre (my favourite!)

Understanding Comics - Scot McCloud

Making Comics - Scot McCloud

Theory of Comics and Sequential Art - Will Eisner

Framed Perspective - Marcos Mateu-Mestre (still working through this and will be until the sun explodes)

Essential Guide to Comic Book Lettering - Nate Piekos

And not directly comic related but useful enough that I'm counting it

Anatomy for Artists- Tom Fox (highly recommend)

Morpho Life Drawing books, but especially Fat & Skin Folds

This has paid off in my sequential art! 2023 -> 2024

But I feel like I'm butting up against my limits again. I've become pretty good at discerning if this is a mindset problem, or a skill gap, and this one feels like a skill gap. I don't have as strong a grasp of composition as I'd like, in that my successes feel like flukes and are inconsistent. My anatomy needs tuning up also, but i can kind of fuzz that with solid comp, and I can only do one thing at a time. With that in mind, to read and do:

How to Draw Noir Comics: The Art and Technique of Visual Storytelling - Shawn Martinbrough

Framed Ink 2 - Marcos Mateu-Mestre

Expressive Anatomy for Comics and Narrative - Will Eisner

Picking stills from movies I like and doing thumbnails

Watching more movies/reading comic books, and getting into the habit of breaking down pages in an art program

All in all, pretty happy! And I have an excuse to read comic books. Win win