All language subtitles for 1. Storyboards.mp4

Every form of Storytelling need to planning beforehand to convey. What is needed to be, told in an understandable and immersing way and what tools are no different. When it comes to this. It's very important to make a rough draft of your chapter before you start drawing it. So you can plan, it ahead properly, there are alot of ways of planning and doing storyboards and rough drafts in this lesson. I would like to share with you my personal method that I follow and have found to be very effective so far

at this stage, you preferably or Ready? Have planned the flow of events of your story and know what you want to tell Annie chapter, but even if it's a clear idea in your head, it helps a lot to write a script for your chapter beforehand or at least write a few pointers on how you want the dialogue to go. Personally, I don't really write ascript for every chapter most of the time, I just write down the main important dialogue points. This happens across different days and times

since Ithink about my story a lot and whenever I feel very inspired and be Eliza certain scene. I immediately just down the main pointers of thedialogue that is in that scene. And when the time comes for drawing the storyboard, I do it out of memory while referring tothose important points. I wrote to make sure I covered everything I wanted to convey in this chapter. I do that by scribbling rough, drafts of my panels and writing the dialogue by hand. As I go, this makes me feel the tension and vibe in the scene. I'm drawing

and bolts up. So many emotions inside me, which is why I usually do my storyboard. Sowhen I'm on my own away from any distractions so that I can get fully immersed into the events on drawing to make sure I convey them in the best possible way. I understand though, that this might not work for everyone as we all think in different and unique ways, which is why I highly urge you to try writing a full script of your chapter first and maybe simultaneously visualize the events in your head. And once you are in the story were drawing phase,

you can follow the script while having the option whether to completely stick to it. Our do some changes that feel better to you and give a smoother flow of events. So experiment with this and find out what works best for you, I recommend writing your scripts to organize documents. Personally, I use the online service new cleaner to jot down everything related to my story. Whether it's chapter scripts characters background information or the overall story timeline, and asummary of the flow of events.

I find it a nice space to organize and categorize all my thoughts to make it easier. To write notes under the relevant topic, without losing them in asea of notes. Now, let's talk about the storyboard file, I usually draw my storyboard in columns, in arectangular file like this. Since my reading direction is left to right, I work on the columns from left to right drawing each column on aseparate layer until Ireach the ending of the chapter. Now let's create this file together from scratch. Go to file, then you

choose illustration. I usually go for a size of Pixels in width and 4500 in height. Make sure you choose the unit as pixels and Ikeep the paper color as white and then click OK. I want to divide this canvas into 10 equal segments since I chose the with to be nine thousand pixels, that means that each segment is going tobe 900 pixels. So to do this precisely, I'll go to view great.

Now we can see a grid that has showed up but we want to change the size of each Square to be 900. So I'm going to go again to view. This time. Grade ruler bar settings. I'm going tochange the Gap to 900 pixels and the number of Divisions to one since Idon't want any divisions in the middle of the square and then click ok. Now we can easily see our columns. So wejust need to draw lines that separate the columns. I'm going to draw them on this layer and I'm going to rename it first by double-clicking

and I'll call it guides. And now I'm going to draw lines on the grid itself to separate the columns. If you are lines, are not straight or not following the grid, make sure you have this button enabled snap to grid, which is also available here under view, snap to grid. So once I turn this off, it's no longer snapped, so I'll turn it on again to continue drawing,

Now that the columns are ready, I no longer need the grid, so I'll go to view grid to hide the grid, and over here in the layers, are lock the layer so that I don't erase or change anything by mistake. And once that is done, I'll create a new layer and zoom in to the left and start drawing my storyboard here. As I mentioned earlier, I draw each column on aseparate layer so that it's easier for me to copy them later

into my drawing canvas. Now, I'd like to give you a few pointers on drawing the storyboard. First of all, I usually make aquick rough, drafts of my panels, while focusing on the characters. During this stage, my main focus is on, drawing the right emotions of the characters as well as the appropriate poses and camera angles, while the storyboard can also be done with Stickman. Scribbles and handwritten notes, I find it more effective to do arough draft instead

even if they look imbalanced and full of mistakes because As you work on the full chapter later, you could lose the vision. You initially had for your story since the process takes a long time and is done over days or weeks of work. So I find rough drafts. A great reminder of the vision I had in my head when planning the chapter, I would say try both methods and see what works best for you. The second pointer is on theplacement of the logo of your story. You could place the logo at the beginning of your chapter.

And you could also place it at the end of your chapter. And sometimes, you can also place it in the middle of the chapter. You can use it as sort of aTime Break switching between two events, two places or two different times for me. If the logo is inserted in the middle, I think of it. Similarly to how the opening of an anime episode is, and I'm mentioning this point right now inthe story, worked Landing because inserting the logo. While you're planning, can help you alot in such cases when you want to separate scenes, but

Iwant to have something in between so I write the logo on the storyboard to remind myself later to add it on my drawing. Canvas. The third pointer is to decide the position of your speech bubbles as you're doing the storyboard, whether you're right your dialogue, like I do during this phase or not. It's very important to decide on the placement of your speech, bubbles at this stage because speech, bubbles, take space. And if you don't plan their placement ahead of time, you could end up making a gorgeous artwork for your panel

only. Having to hide it later with speech bubbles, that's why it's important to determine their position. So that you plan on the composition of your panel around it. I also kind of decide on the bubble speech shape at this stage to, but I'm going totalk more about this later in the lettering lesson. You need todecide your reading Direction at the storyboard phase, whether you decide to go right to left or left to right, it's very important todecide from now because the flow of your panels will be following this direction. Personally, I follow the left-to-right,

InDirection. So when I plan my panels, I make sure that it follows that direction. So the readers eyes, go from this direction to this, and then this, and then like this, keeping this sort of organization is important, so that the reader does not get confused. Usually, if Ihave more than one speech bubble in the same panel, I make sure to separate them by distance. So, for example, in this panel, the first speech, bubbles over here,

and then the And goes over here. And then, the third goes over here since the webtoon reading format is vertical. Try not to put alot of dialogue next to each other, unless it was really necessary and make sure to do a variety in their sizes. So it feels more Dynamic to the reader. Thenext important thing I want to talk about is establishing shots and establishing shot is basically the panel that tells you at what time and place are the events taking place. Because in comics generally, we can have a lot of panels that really focus mainly on close-up shots of the characters faces.

So if we draw panels that only show the characters faces, the reader is not going to be able to imagine their surroundings and what's happening around them. So an establishing shot helps, the reader understand where the event is taking. Place and at what time? So that their mind can do the rest of imagination. I'm going toshow youexamples of finished panels so you can understand theconcept more clearly. For example, here in chapter 11 of my story,

I have the characters speaking and it's only close-ups of them. But before Idrew these panels, I made sure to introduce the time place and setting of the scene before hand. So for example, my characters are sitting in the library and its morning time. So I made sure to introduce a panel of Library while showing the Blue Sky to indicate that its morning time and then I showed a panel of them sitting in the library so the reader knows where exactly are they in the space? So on this panel, Iintroduced how they're seated and their positions relatively to each other.

So that for the following panels, as the reader read through these close-up shots, they will still understand the setting of the scene and where everyone is seated and things like that. So it reallyhelps clarify the scene for the reader and it's Very important to remind yourself to have an establishing shot every now and then so that the reader can tell where the characters are right now. Next, let's talk about the pacing of the story. Through the number of panels.

Let's say we have a hypothetical scene of acharacter picking a diamond from the ground. Let's say we want to do a fast paced seen it would be simple. The character would first spot the diamond and then picks it up, simple and quick. however, if we want to slow down this scene, Then we draw the character first, seeing the diamond, and then a close up of the diamond, and then a close up of the character with the diamonds reflection, in their eyes,

to give their impression on seeing this diamond and then aclose-up of their hand picking the diamond, and then finally, we see them picking the diamond and maybe there's some sort of feeling or flashback related to this diamond. It all depends on the story. But anyway, as you can see to make our it's fast-paced, we reduce thenumber of panels and to make them slow-paced, we increase the number of panels, I can give you a very good example in the latest chapter that I've drawn so far

for a fast paced panel, especially in fight scenes. For example, I wanted toindicate that my character Sakura was immediately hit by this mysterious, anew guy. So the moment she spoke he immediately attacked. And as you can see, I drew the attack and one panel. We can see the motion lines. Attack and the character is being hit in the same panel. So this indicated a quick paced scene. However, I slowed it down later because it was a shocking moment.

She got hit. So I put a close up on her and then he spoke saying don't interfere. And then the moment kind of slowed down Hideki, my male lead was looking at her, and then we see her falling like this. And then the sound effect of thud, which Isthat she fell on the ground. So as you can see, playing around with the number of panels can really help you bring the pacing that you desire for this specific scene. The next point is

drawing your panels from different camera angles. Let's say you have an establishing shot of two people. Having a conversation together, the conversation could be long and could spend over anumber of panels. So avoid drawing the scene from the same shot and camera angle and instead make a variety in each panel. So for example after This establishing shot, we can show an angle where the camera is behind the girl, and we're seeing only her head and we're seeing more of the boy because he's speaking right now.

And maybe in the following scene, we put the camera behind the boy. So that we are looking at the girl, because she is talking right now. And then we could bring back the camera to the boy since. For example, let's say he's saying something important and he's taking the attention of this shot and so on, varying the camera angles can really bring more life. Life to your story. So, try as much as possible, not to repeat the same shots at least. Not one after the other, but if you want to repeat the shot, maybe give it some space before you repeat it again, but add some variety to make it look more distinct.

Finally, when you're almost done drawing the storyboard for your chapter, make sure to as much as possible. And your chapter on a cliffhanger, a cliffhanger, is basically an event that intrigues. The reader and leaves them wanting more too. Eat for example, you can end your chapter with aquestion or introducing a new character or unrevealing, an important point of the story. All those things really intrigued the readers

and makes your comic look more excited to them which in turn. Makes them come back to. You wanting to read more and know more about your story. So I highly advise you include those in your chapters. It's not only going to excite the readers but it's going to excite you as well because you'll be very excited and looking forward to draw. The following chapter last but not least in terms of the number of panels chapters can be as long as you're comfortable with. I generally measure the length of the chapter, by the number of panels included.

I would say that the chapter with an average of30 panels makes a good reading experience. My chapters personally out on an average of 30 to 40 panels. And sometimes I cross that bar, sometimes I go up to 45 or 50 panels that totally depends on the event. On going, in the certain chapter And so there is not really a fixed number. All that matters is that you keep in mind all those points that we discussed as you're creating your storyboard. So you make an exciting chapter. That is interesting for you to draw

and for the readers to enjoy and look forward to in the next lesson, will transfer the storyboard that we created to our drawing canvas. So that we set it up and have it ready for the following steps.