How to write a storyboard for a funny four panel comic

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The four-grid is much easier to draw than the long one.,Because the story content of the four-grid story is relatively simple.、So you can draw four rectangles or squares to frame the content of the picture.,There is also a certain procedure for drawing four grids.,The development of the story should be told.、Bearing、Turn、Combine (the size of the picture can be changed according to the development of the story) And I personally think that although the four-grid is relatively simple,But the picture content still has to have a certain depth (now there are more and more funny and spoofed insides, It would make more sense to add some of your own thoughts into it! The above is a personal opinion, I hope to adopt, I wish you success!

Do you draw on board or by hand?

I don't know... Draw four rectangles and you're OK.

Roughly want to express the content of the grid according to the composition you want to draw out the flow of the dialog box and finally fill in the good It is recommended that the landlord start practicing from the four-panel comic book There is a book that teaches comics "Orin Pig Learn comics from scratch" There is a teaching of this This is not a simple tutorial book There is a plot Personally, I think it's pretty good The landlord can look up it on the Internet.

Just divide the grid, draw the characters, and the approximate location of the dialog.

Aside from the problems of painting skills and stories, the core of the four-panel comic should be the four parts of "starting, carrying, turning, and knotting", and each part is displayed with a frame.

beginning, that is, the beginning of the cause of this story, and so on.

Undertaking refers to undertaking the previous grid.

This is usually the most important one, and it focuses on reversing the previous content and making a twist that surprises the reader. Generally, this grid of four-panel funny comics is the key to whether it is interesting or not.

Knot, needless to say, this grid is the end of the whole comic, echoing back and forth.

In fact, I don't remember the meaning of this transition knot. Four-panel comics don't require strong drawing skills, storyboards, and storytelling skills, and the most important thing is to have a good idea. If the landlord wants to draw a funny genre, you can refer to Ao Youxiang's "Oolong Courtyard" series, a textbook-style four-panel funny comic.

If it's a bit of a plot, then a lot of Japanese four-panel comics can be referenced, such as "Light Girl", "Azi Comics King" and so on.

Draw with your claws, (don't shoot me big truth).

First of all, you need to prepare pen and paper and choose the materials you want. The first grid should not talk too much about the foreshadowing, the second box allows the story to continue to develop, the third box designs an event, and the fourth box gives people an unexpected or funny ending. You've basically succeeded in this four-panel comic.

There is generally no big standard for 4-panel comics, the key is to look at the requirements of the art company you want to submit, generally as long as you can draw on B4 and A4 manuscript paper (generally use special now, go directly to buy) The 4 grids are evenly divided. It can be 4 grids arranged in a vertical row, or it can be arranged in a field shape.

1: The tree is a close-up view, and the field is a distant view. People are in the fields, and rabbits are running to the trees.

2: A person picks up a rabbit. 3:

People squatted beside trees and waited. 4: The seedlings in the field withered, and the hoes rusted.

How to draw a comic storyboard? It's better to say more than to do it!

Let me illustrate with an example, please see the figure:

What are the problems with this storyboard?

Then let me talk about the idea of modification:

Widening the width of the first compartment will strengthen the sense of substitution, increase the dwell time of a single compartment, and help express the atmosphere of the class.

The purpose of drawing the characters smaller is to highlight the scene, and the flattening of the font of "唰唰唰——" is also to express the atmosphere and guide the direction of reading.

The protagonist is unusual, which is a commonly used effect when appearing, and it also indicates that he exists in the scene of the previous block. (It's just casual to draw the protagonist's dull hair in a lightning bolt type, but the protagonist needs to have similar recognizable features to leave an impression on the audience).

With a flurry of zzz....The purring of the expressive protagonist lingers throughout the environment while guiding the direction of the reading.

The teacher's close-up is to pave the way for the follow-up close-up, and at the same time, the direction of the face can also correspond to the position in the scene, and this can also be matched, and there is a more and more harsh zzz coming from behind....

For the same backlog of energy, I used a slightly sloped frame line at the top of the three grids to strengthen the sense of progression, and at the same time, the size has changed, and the eyebrows have been added, so that this progression is not monotonous.

For the direction of the diagonal line, the perspective is strengthened, and the explosion is expressed with a strong speed line, and the chalk head thrown with the "whirlwind charge tornado" is naturally an exaggeration that can be found in comics.

The second page is much simpler, continuing to follow up on the trajectory of the speed line and the chalk head, but without strong perspective, it hints at a return to calm.

After the speed line lasts for 2 squares, the blank background of this grid will make the atmosphere instantly relax, and it is also a contrast to show that the protagonist is relaxed, so as to highlight that the protagonist is extraordinary.

Finally, I will briefly express the supporting characters who appeared earlier, and use the ordinary people in the story to react to the events.

Here's a diagram I modified:

<> above is a sketch, this stage can make people understand as much as possible, and feel that the rhythm is the most important.

That's pretty much it, but in the end I've refined it a little bit and made a few tweaks to make it more complete and believable:

<> I wonder if you feel like you've learned anything after reading it?

Many authors use dialog boxes and line layout more casually, mixing and matching horizontally and vertically, which saves them trouble, but it makes it difficult for readers to read. Generally speaking, the vertical text is matched with the oblong oval dialog box, and the horizontal typesetting text is matched with the horizontal oval dialog box, which is more in line with the visual habits of the eyes.

The layout of the lines is also closely related to the reading order. Reading from right to left, the dialogue is basically vertical, with Japanese and Taiwanese works as a typical typesetting, and from left to right, the dialogue is horizontally typesetting, with original comics from Europe, America and mainland China as a typical typesetting. You can try to read your work for yourself to see if the lines are smooth and easy to read.

There are also secrets to the distribution of lines.

Not every compartment needs to be written. This is of course not nonsense, the focus is highlighted, the details are very important principles in the creation, when drawing the storyboard, do not be limited to a single frame composition, but always examine the whole page, the distribution of lines on this page, is it too scattered, concentrated or too much? Too many lines can make a comic look like**.

The outer frame here refers to the outermost wireframe on a page of the webtoon. When you think back to your creation, do you be lazy to omit this wireframe? It doesn't seem important, but in fact, he also plays an important role.

If there is no frame line, it will cause the picture to be crowded. Without the protection of the frame line, the characters in the picture will seem to rush out and occupy the entire screen, which will make the reader feel stressed.

White space and spacing are also part of storyboarding.

With the outer frame line, at the same time, it should be noted that there is a certain blank space between the outer frame line and the edge, and the outer frame line is too close to the edge, which will also cause a crowded visual effect in the picture. The distance between each cell is also important. The distance between the cells within the peers is different from the distance between the upper and lower adjacent cells, depending on the plot of the story.

Your work is the world you create, and every plant and tree in this world is created by you and presented to the readers. Elaborate portrayal is certain, but if every detail is depicted in detail, it is not only a waste of energy, but also can cause the opposite effect: the picture is not focused, the content is too full, and these not only affect the reader's reading, but also affect the expression of the story.

So when drawing a storyboard, remember to be detailed, highlight the key points, and omit the secondary content. Learning to be lazy is a technical job, and you need to understand it carefully.

The order of reading affects the composition of your picture, for example, if you read from right to left, there are two characters in the picture, and the characters you want the reader to see first should be placed on the right, and then the reader should see on the left, and the order of dialogue should also be in this order. Because of this directionality, if a character "runs" into the scene, he is drawn running from left to right, which is opposite to the direction of the reader's reading, and can produce a sense of "appearing"; Conversely, if the character is "running away" from the scene, draw a run from right to left.

Hope.

There are no necessary tools for drawing comics and storyboards... A simple ruler and pencil eraser will do... If you are particular about it, you can buy some special tools for drawing comics...

Seek satisfaction.

Draw a simple illustrative sketch for the landlord.

I think the definition of storyboard is: to highlight the content you want to express and there must be a reasonable coherence between all the content, connecting the previous and the next, so that the reader will not have the feeling of "disconnected" after reading and can see clearly (please check the formal explanation).

The use of homophony is well written.

Truth. There's nothing creative about it.

1, this content, no new ideas, the content of a joke used and then caricature.

It's like, the Sunflower Treasure Book, if you want to practice this skill, you must be from the palace, and if you don't have a palace, you can also practice it, although you are from the palace, you may not succeed.

This kind of theme is the same, and it has been used in many movies, and there is no laughing.

2, the characters are expressionless, and it feels like they have taken a picture of a certain anime and pasted it with a chat model, and it is simply a scene, different storyboards, and it can't be original at all.

Leave the word hehe.

Turn around and walk away.