THE EYES
The eyes will of course be drawn in an expressive fashion, which obviously includes a sleepy look, or a taciturn one ( as are the depressive characters of Jason or the sullen ones of Menu).
Knowing that the eyes of the reader will immediately plunge into them, the eyes of the characters can be accented, without going to the disproportion permitted in mangas, not out of jealousy for large occidental eyes, but certainly to gain in expressiveness. Standing out can mean playing with contrasting shadows, (from the eyebrows seen from underneath, with the wrinkles of the eyelid or brows), but especially in being precise about the position of the pupil in the eye. These two dots, which can be considered graphical commas, must find their proper place; in the center of the eye, they will create a stunned look, half hiden beneath the eyelid, and they will suggest an unexplicit intention, etc.
Without this graphical message, a character will be without a look, that is to say without a soul, without thought, without emotion, without life; that makes for a great deal!
...
FOLLOW THE LOOKS (OF THE CHARACTERS)
I remember a sequence in Blueberry, drawing 2, from La Dernière Carte (Dargaud, 1983) at the top of which all the characters barge into a saloon (this part is easy to imagine). All of the looks take stock of the interior of the joint and the axes thus created structure the scene. Even though the colour is off because of being treated with too much striping (throughout the whole album), the lines of virtual looks create a strong underpinning to composition and readability.
When one draws two characters in the same frame, the line of the look they give each other creates a line of composition which can have more strength than a background line ( which corresponds to a solid object).
Do not hesitate to use in a composition these invisible lines which the reader perceives perfectly.
from Gérald Gorridge, Créer une BD, éditions First-Gründ, Paris, 2010.
The eyes will of course be drawn in an expressive fashion, which obviously includes a sleepy look, or a taciturn one ( as are the depressive characters of Jason or the sullen ones of Menu).
Knowing that the eyes of the reader will immediately plunge into them, the eyes of the characters can be accented, without going to the disproportion permitted in mangas, not out of jealousy for large occidental eyes, but certainly to gain in expressiveness. Standing out can mean playing with contrasting shadows, (from the eyebrows seen from underneath, with the wrinkles of the eyelid or brows), but especially in being precise about the position of the pupil in the eye. These two dots, which can be considered graphical commas, must find their proper place; in the center of the eye, they will create a stunned look, half hiden beneath the eyelid, and they will suggest an unexplicit intention, etc.
Without this graphical message, a character will be without a look, that is to say without a soul, without thought, without emotion, without life; that makes for a great deal!
...
FOLLOW THE LOOKS (OF THE CHARACTERS)
I remember a sequence in Blueberry, drawing 2, from La Dernière Carte (Dargaud, 1983) at the top of which all the characters barge into a saloon (this part is easy to imagine). All of the looks take stock of the interior of the joint and the axes thus created structure the scene. Even though the colour is off because of being treated with too much striping (throughout the whole album), the lines of virtual looks create a strong underpinning to composition and readability.
When one draws two characters in the same frame, the line of the look they give each other creates a line of composition which can have more strength than a background line ( which corresponds to a solid object).
Do not hesitate to use in a composition these invisible lines which the reader perceives perfectly.
from Gérald Gorridge, Créer une BD, éditions First-Gründ, Paris, 2010.
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