1 00:00:04.030 --> 00:00:09.812 WEBTOON Basics What is directing? Frames and gutters 2 00:00:09.812 --> 00:00:12.584 GCC Academy 3 00:00:12.584 --> 00:00:15.734 Learning Goals Understand the concept of directing Learn about directing the page format frame layout Learn about directing the scroll format frame layout 4 00:00:15.734 --> 00:00:18.871 Learning Contents Concept of directing Directing page format frame layout Directing scroll format frame layout 5 00:00:18.871 --> 00:00:23.802 Kim Yong hoi Careers: Former adjunct professor at Cheonggang Cultual Industry University Former head of SWA Seoul Webtoons Academy Works: The Flower That Blooms Again Just That A Dream of a Midsummer Night Masterpiece 6 00:00:26.436 --> 00:00:30.376 Nice to meet you, I'm webtoonist Kim Yong-Hoi 7 00:00:30.376 --> 00:00:35.743 In this session, we will explore the basics of Webtoons directing 8 00:00:35.743 --> 00:00:39.000 which is the initial step towards visualizing stories prepared in writing 9 00:00:39.000 --> 00:00:44.000 we will be focusing on directing using the visual appearance of frames 10 00:00:44.000 --> 00:00:49.000 We will explore the concept of directing in comics and webtoons 11 00:00:49.000 --> 00:00:52.297 We will explore what directing page format frame layout is about 12 00:00:52.297 --> 00:00:56.059 We will explore what scroll format frame layout is about 13 00:00:57.139 --> 00:01:00.951 Concept of directing 14 00:01:00.951 --> 00:01:03.446 What do you think directing is? 15 00:01:03.446 --> 00:01:09.119 If we google about directing, the most basic answer would be this 16 00:01:09.119 --> 00:01:12.554 Directing is a term originally used in theater or plays 17 00:01:12.554 --> 00:01:17.604 It is the the creation of a play or theater with actors' performances, 18 00:01:17.604 --> 00:01:21.000 background music, stage lighting and other elements on the stage 19 00:01:21.000 --> 00:01:27.248 As a definition, directing encompasses all audiovisual methods utilized by the director 20 00:01:27.248 --> 00:01:33.050 to effectively convey their desired message 21 00:01:33.050 --> 00:01:37.871 In other words, directing involves 22 00:01:37.871 --> 00:01:42.762 utilizing various sensory elements such as images or sound 23 00:01:42.762 --> 00:01:48.594 to effectively convey a particular message 24 00:01:48.594 --> 00:01:53.891 Comics is a medium that conveys a story through drawings 25 00:01:53.891 --> 00:01:59.871 The story is primarily conveyed dramatically through visual elements alone 26 00:01:59.871 --> 00:02:06.188 It differs from visual media because the story is conveyed through still images 27 00:02:06.188 --> 00:02:12.426 It differs from photography or painting in that it conveys a continuous story 28 00:02:12.426 --> 00:02:15.802 through multiple frames accompanied by dialogue 29 00:02:15.802 --> 00:02:22.040 However, since it conveys a continuous story through multiple frames accompanied by dialogue, 30 00:02:22.040 --> 00:02:25.277 it shares similarities with visual media 31 00:02:25.277 --> 00:02:29.386 And, since the story is conveyed through still images 32 00:02:29.386 --> 00:02:33.109 it shares similarities with photography or painting 33 00:02:33.109 --> 00:02:37.515 The stage of directing in comics is a flat blank page 34 00:02:37.515 --> 00:02:44.109 Among them, Webtoons differs from traditional comic formats in terms of their page layout 35 00:02:44.109 --> 00:02:50.861 Unlike horizontal, gaze based page format, Webtoons is vertical 36 00:02:50.861 --> 00:02:57.000 Secondly, auditory elements can be added to the visual elements 37 00:02:57.000 --> 00:03:00.881 Movement can also be created using visual elements 38 00:03:00.881 --> 00:03:06.158 Auditory elements and movements are optional in Webtoons 39 00:03:06.158 --> 00:03:09.535 Therefore, we will just briefly talk about it 40 00:03:09.535 --> 00:03:16.901 Some Webtoon works collaborate with musicians for background music that suits the mood of the scene 41 00:03:16.901 --> 00:03:23.960 One good example of incorporating movement in a Webtoon would be Oksoodong Ghost by Horang 42 00:03:23.960 --> 00:03:27.772 Comics content with sound and movement 43 00:03:27.772 --> 00:03:32.030 has already established itself as an independent content known as animation 44 00:03:32.030 --> 00:03:37.723 we will see how these elements will be utilized 45 00:03:37.723 --> 00:03:40.000 in future Webtoons with anticipation 46 00:03:40.000 --> 00:03:47.109 Webtoons has evolved from the traditional page-based format of comics 47 00:03:47.109 --> 00:03:52.000 Comics uses images within frames to tell the story 48 00:03:52.000 --> 00:03:57.594 The Evolution to Webtoons was made possible thanks to mobile phones 49 00:03:57.594 --> 00:04:03.017 Webtoons stages on the vertical rectangular screen of a mobile phone 50 00:04:03.017 --> 00:04:07.485 In it, desired emotions of the story are directed by the author 51 00:04:07.485 --> 00:04:13.337 First, let's explore the original concept of frames in the page format 52 00:04:13.337 --> 00:04:19.188 Them, we'll explore how it is similar to and different from the scroll format 53 00:04:20.119 --> 00:04:24.535 Directing page format frame layout 54 00:04:24.535 --> 00:04:32.050 The page format is a familiar reading format where the story unfolds across multiple pages 55 00:04:32.050 --> 00:04:36.723 Every page has footer page numbering 56 00:04:36.723 --> 00:04:40.402 In a digital environment, it's also easy to navigate 57 00:04:40.402 --> 00:04:45.010 within a work we've read 58 00:04:45.010 --> 00:04:49.936 In Page format comics, multiple frames are arranged on a single page 59 00:04:49.936 --> 00:04:54.228 allowing us to see the composition of the frames at a glance 60 00:04:54.228 --> 00:05:00.446 Natural spacing between these frames are made and they are called gutters 61 00:05:00.446 --> 00:05:07.396 Naturally, we intuit the impactful frame that is the central focus of the page 62 00:05:07.396 --> 00:05:11.196 With that, we savor the other pieces of frames 63 00:05:11.196 --> 00:05:15.000 placed at intervals within the gutters 64 00:05:15.000 --> 00:05:17.995 there will be smaller frames within the page 65 00:05:17.995 --> 00:05:22.792 which had to give up their size for the impactful frame 66 00:05:22.792 --> 00:05:27.267 The size of the frames are basically determined by the emotion conveyed in them 67 00:05:27.267 --> 00:05:32.305 Authors decide the extent of emotion to show 68 00:05:32.305 --> 00:05:35.109 through dialogue or situations by the size of the frames 69 00:05:35.109 --> 00:05:38.910 Bigger frames are used to show stronger emotions 70 00:05:38.910 --> 00:05:43.535 Smaller frames are used to show relatively weaker emotions 71 00:05:43.535 --> 00:05:47.082 Each frames on a page 72 00:05:47.082 --> 00:05:50.792 receives its emotional wight from the author 73 00:05:50.792 --> 00:05:57.743 To maximize the emotional impact, sometimes a single frame is spread across two pages 74 00:05:57.743 --> 00:06:01.376 Or, the entire spread is dedicated to a single frame 75 00:06:01.376 --> 00:06:06.028 However, it's not feasible to dedicate every page to a large frame 76 00:06:06.028 --> 00:06:13.198 In order to advance the story, multiple frames within a single page are necessary 77 00:06:13.198 --> 00:06:15.771 For that, size of the frame needs to be determined 78 00:06:15.771 --> 00:06:21.673 by the emotional significance the author wishes to convey 79 00:06:21.673 --> 00:06:27.446 The volume of emotion must be determined for each frame on a page 80 00:06:27.446 --> 00:06:34.168 Determining size of each frame itself means to have taken the first step of directing 81 00:06:34.168 --> 00:06:38.553 The author typically considers the sequence 82 00:06:38.553 --> 00:06:44.842 in which the frames will be read when arranging the size of the frames 83 00:06:44.842 --> 00:06:50.554 The human gaze instincitvely progresses from left to right and top to bottom 84 00:06:50.554 --> 00:06:55.349 The reason behind it is because the majority of people are right-handed 85 00:06:55.349 --> 00:06:59.772 It's because the gravity pulls us down 86 00:06:59.772 --> 00:07:03.362 As we look at the frames in the flow of the gaze 87 00:07:03.362 --> 00:07:09.881 We can sense that the appearance of the frames allows further control of emotions 88 00:07:09.881 --> 00:07:12.683 And that would be the shape of the frames 89 00:07:12.683 --> 00:07:19.001 The use of rectagular frames in Webtoons to tell story is because 90 00:07:19.001 --> 00:07:23.129 each square on a page serves as the stage for them 91 00:07:23.129 --> 00:07:27.079 There are rectangles and inverted triangles 92 00:07:27.079 --> 00:07:33.524 An Inverted triangle has a narrow bottom and a wide top 93 00:07:33.524 --> 00:07:37.485 This shape creates tension for the viewer by inducing instability 94 00:07:37.485 --> 00:07:42.208 Rectangles provide psychological stability 95 00:07:42.208 --> 00:07:46.573 While squares with all sides equal might seem to provide 96 00:07:46.573 --> 00:07:50.055 the most psychological comfort due to its balanced nature 97 00:07:50.055 --> 00:07:54.406 However, there is a type of rectangle that offers even more comfort 98 00:07:54.406 --> 00:07:58.327 It would be wide rectangle with a longer width 99 00:07:58.327 --> 00:08:03.248 People tend to feel the most stability with wide rectangles 100 00:08:03.248 --> 00:08:05.079 Why do you think so? 101 00:08:05.079 --> 00:08:10.000 It's because human eyes are horizontally positioned 102 00:08:10.000 --> 00:08:12.762 Within the gaze that stretches horizontally 103 00:08:12.762 --> 00:08:15.531 We would feel the most relieved and secure 104 00:08:15.531 --> 00:08:20.386 When we know that there is nothing threatening us right? 105 00:08:20.386 --> 00:08:26.953 In such a state of reassurance, the mind, eager to take in everything around 106 00:08:26.953 --> 00:08:31.000 becomes like a wide rectangle, able to encompass all that the eye can see 107 00:08:31.000 --> 00:08:36.337 It's stable, yet has less or decreasing psychological tension 108 00:08:36.337 --> 00:08:41.911 On the other hand, shorter width, longer length gives anxiety 109 00:08:41.911 --> 00:08:47.050 It's unstable just with the sense of visual balance 110 00:08:47.050 --> 00:08:51.554 The narrower the width, the more unstable it becomes 111 00:08:51.554 --> 00:08:56.646 Utilizing the psychological unease of a narrow-width rectangle in a frame 112 00:08:56.646 --> 00:09:02.742 Not only does it synchronize with the unease felt by the character within the frame 113 00:09:02.742 --> 00:09:08.119 but it also gives the readers a feeling of peering into the depths of the character's inner self 114 00:09:08.119 --> 00:09:13.757 An irregular rectangle with varying lengths on each side, not aligned vertically or horizontally 115 00:09:13.757 --> 00:09:19.762 appears difficult to stabilize and fix firmly on the ground, evoking a strong sense of instability 116 00:09:19.762 --> 00:09:23.145 Using such a rectangle to construct dynamic emotional scenes 117 00:09:23.145 --> 00:09:27.248 would be even more effective in evoking feelings of instability 118 00:09:27.248 --> 00:09:34.644 Just the arrangement of rectangles within the page can evoke dynamic emotions 119 00:09:34.644 --> 00:09:39.250 Like so, page format induces psychological stability aesthetically 120 00:09:39.250 --> 00:09:43.228 By just having frames on a page itself 121 00:09:43.228 --> 00:09:47.247 So, size of frames is used to adjust the intensity of emotion 122 00:09:47.247 --> 00:09:51.475 Then, the shape of frames is used to control the shape of emotions 123 00:09:51.475 --> 00:09:58.307 When we look at rectanglular frames, largest frame comes into our attention first 124 00:09:58.307 --> 00:10:02.984 Considering it being comics, if we look at the frames 125 00:10:02.984 --> 00:10:09.960 Our gaze starts from left to right and top to bottom 126 00:10:09.960 --> 00:10:16.287 The arrangement of frames guides the sequential reading in accordance with the flow of the gaze 127 00:10:16.287 --> 00:10:21.663 The reading order led by the flow is equal to passage of time within the story 128 00:10:21.663 --> 00:10:25.485 The gutters between frames becomes time. 129 00:10:25.485 --> 00:10:30.978 The page format layout allows us to intuit 130 00:10:30.978 --> 00:10:33.515 the intensity of emotions directly 131 00:10:33.515 --> 00:10:38.265 Instinctively perceiving the aesthetic of the rectangular frames, 132 00:10:38.265 --> 00:10:43.515 We can follow the gaze across the gutter with the sequential flow of time 133 00:10:43.515 --> 00:10:48.000 If the frames were not intended to jump to the next 134 00:10:48.000 --> 00:10:53.208 Readers intuitively sense the visual continuity between frames 135 00:10:53.208 --> 00:10:57.370 During the space of the gutter, where actions connect, 136 00:10:57.370 --> 00:11:03.248 And they delight in the seamless connection of movements 137 00:11:03.248 --> 00:11:08.405 Even in comics that present action sequences through a combination of still frames, 138 00:11:08.405 --> 00:11:13.149 Readers can still experience the dynamic flavor of the action because of this 139 00:11:13.149 --> 00:11:19.000 Readers themselves fill in the actions within the connected gutters of time 140 00:11:19.733 --> 00:11:23.842 The scroll format frame layout 141 00:11:23.842 --> 00:11:30.660 For the page format, we've observed how emotions can be conveyed 142 00:11:30.660 --> 00:11:37.109 solely through the visual layout of the frames, utilizing the size, shape and gutters of the frames 143 00:11:37.109 --> 00:11:41.525 Now, let's explore what directing scroll format frame layout is about 144 00:11:41.525 --> 00:11:46.386 95% of the Webtoon readers view Webtoons on their mobile devices 145 00:11:46.386 --> 00:11:53.000 The page format on vertically-oriented screens imposes limitations on the user's viewing experience 146 00:11:53.000 --> 00:11:58.262 On small mobile device screens, a single page containing multiple frames 147 00:11:58.262 --> 00:12:03.941 makes it difficult to view the images clearly and the text font may be too small 148 00:12:03.941 --> 00:12:10.396 Vertical scroll format is currently the most optimized way to enjoy comics in the mobile environment 149 00:12:10.396 --> 00:12:16.624 If we consider the page format as optimized for traditional book-like environments 150 00:12:16.624 --> 00:12:24.079 Then, the scroll format is optimized for the vertical rectangular layout of mobile phone screens 151 00:12:24.079 --> 00:12:28.361 The scroll format offers infinite vertical space 152 00:12:28.361 --> 00:12:35.218 However, it can be challenging to navigate or return to desired specific point 153 00:12:35.218 --> 00:12:41.554 That's why viewers of all Webtoon platforms have a "back to top" feature 154 00:12:41.554 --> 00:12:47.317 Due to the viewer's specifications, we have limitations on the number of frames to view on one position 155 00:12:47.317 --> 00:12:51.464 Placing frames side by side, like in a page format, imposes limitations 156 00:12:51.464 --> 00:12:57.158 On the number and size of frames due to horizontal width constraints 157 00:12:57.158 --> 00:13:00.182 Since small frames diminishes clarity, 158 00:13:00.182 --> 00:13:05.327 They are presented sequentially within the vertical flow 159 00:13:05.327 --> 00:13:09.791 Since frames can be arranged infinitely along the vertical axis, 160 00:13:09.791 --> 00:13:13.193 the spacing used for gutters in the page format is not applicable horizontally 161 00:13:13.193 --> 00:13:19.604 However, in the vertical direction, there is more freedom in determining the spacing 162 00:13:19.604 --> 00:13:24.532 Especially nowadays, Webtoon production has become standardized to utilize 163 00:13:24.532 --> 00:13:31.277 large single frames tailored to the convenience of readers on mobile device screens 164 00:13:31.277 --> 00:13:36.627 Font sizes are also increased to enhance readability and visual coherence, 165 00:13:36.627 --> 00:13:42.703 while images are often adjusted to fit the screen size of mobile devices 166 00:13:42.703 --> 00:13:47.531 While page format has the advantage to experience the composition of frames, 167 00:13:47.531 --> 00:13:54.079 Scroll format allows us to feel the flow of time more strongly through the sequence of frames 168 00:13:54.079 --> 00:14:00.806 Horizontal wide frames show wide spaces or present a single shorts 169 00:14:00.806 --> 00:14:05.614 And they are also a common technique used in typical video content 170 00:14:05.614 --> 00:14:12.423 Scroll wide can be a primitive yet effective method to depict the passage of time within a single frame using a long shot 171 00:14:12.423 --> 00:14:17.079 And in the context of scrolling, the wide format has shifted to the vertical direction 172 00:14:17.079 --> 00:14:24.455 While viewing images vertically, we feel emotions within the physical passage of time 173 00:14:24.455 --> 00:14:29.861 Whether those emotions are static or dynamic 174 00:14:29.861 --> 00:14:34.258 In comics, the size of a frame equates to the intensity of the emotion portrayed 175 00:14:34.258 --> 00:14:38.058 Due to readability issues on smaller screens, 176 00:14:38.058 --> 00:14:41.901 It has become standard practice to use full-screen frames 177 00:14:41.901 --> 00:14:47.104 Even so, within constraints, authors vary the size of frames 178 00:14:47.104 --> 00:14:51.723 To show the intensity of dramatic emotions 179 00:14:51.723 --> 00:14:57.081 Even in vertical scrolling the size of frames is used to express the intensity of emotions 180 00:14:57.081 --> 00:15:01.778 To create large frames, it's necessary to provide contrast with smaller frames 181 00:15:01.778 --> 00:15:08.703 However, due to limited viewer size, the intensity of larger emotions is conveyed through their length 182 00:15:08.703 --> 00:15:16.125 Especially for Webtoons originated from web novels, the significance of the first episode is emphasized 183 00:15:16.125 --> 00:15:22.422 To evoke genre-specific satisfaction and stand out among competing works, 184 00:15:22.422 --> 00:15:28.634 It has become typical to use long vertical scenes in the introductory action plots 185 00:15:28.634 --> 00:15:33.002 However, since the length of the scroll corresponds to the passage of time 186 00:15:33.002 --> 00:15:39.911 If a frame is too long, it can dilute the intensity of the emotion over time 187 00:15:39.911 --> 00:15:45.713 In comics, the expression of emotions is conveyed through the size of the frames 188 00:15:45.713 --> 00:15:50.208 And the gutters represents the passage of time between frames 189 00:15:50.208 --> 00:15:57.108 In the scroll format, with the disappearance of limitations on the spacing between frames, 190 00:15:57.108 --> 00:16:00.337 The term "gutter" no longer seems appropriate 191 00:16:00.337 --> 00:16:05.276 Even in the scroll format, there are times where two frames are placed horizontally 192 00:16:05.276 --> 00:16:09.921 Therefore, the term "gutter," representing the space between frames remains, relevant 193 00:16:09.921 --> 00:16:16.129 In the scroll format, the length of a frame can be used to extend the viewing time of a single frame 194 00:16:16.129 --> 00:16:23.941 The space between frames can be utilized to make the emotions' passage of time feel stronger and more efficiently conveyed 195 00:16:23.941 --> 00:16:27.496 First, let's think about what "time" is 196 00:16:27.496 --> 00:16:32.257 Time is intuitively perceived as a flow 197 00:16:32.257 --> 00:16:40.297 Time is perceived by the brain as the beginning, end, or interval between actions and judgments 198 00:16:40.297 --> 00:16:49.495 Such as the physical sensation experienced when dropping an object until it reaches the ground 199 00:16:49.495 --> 00:16:57.386 Or the rhythmic actions like breathing 200 00:16:57.386 --> 00:17:01.518 There are two people talking to each other 201 00:17:01.518 --> 00:17:08.000 Not sure what they're talking about, but it seems like they're having a very enjoyable conversation 202 00:17:08.000 --> 00:17:11.520 One person is talking enthusiastically about something 203 00:17:11.520 --> 00:17:17.040 while the other person facing them appears to be fully engaged to the speaker 204 00:17:17.040 --> 00:17:22.713 The image conveys a sense that the conversation between the two is flowing naturally 205 00:17:22.713 --> 00:17:29.307 It's a natural flow of time, with the clock ticking smoothly, marking the passage of time 206 00:17:29.307 --> 00:17:37.337 The person who was speaking accidentally touched the cup while talking 207 00:17:37.337 --> 00:17:41.484 The person in front notices that 208 00:17:41.484 --> 00:17:45.723 The person who touched the cup notices as well 209 00:17:45.723 --> 00:17:51.119 The cup is tilting, just about to fall from the table 210 00:17:51.119 --> 00:17:56.534 Fortunately, the person in front manages to catch the cup just in time 211 00:17:56.534 --> 00:17:59.208 What quick reflex he's got 212 00:17:59.208 --> 00:18:06.347 The passage of time during these few frames flows sequentially and naturally 213 00:18:06.347 --> 00:18:14.726 The five frames, from touching the cup to it tipping over and the hand catching it 214 00:18:14.726 --> 00:18:21.446 Make us feel the tension within the span of one second, as indicated by the second hand on the clock 215 00:18:21.446 --> 00:18:25.139 Even without having to draw the clock to convey this 216 00:18:25.139 --> 00:18:30.881 Like so, even though it's a very short moment in reality but by doing montage the sequence 217 00:18:30.881 --> 00:18:36.970 You can create a sense of time flowing in slow motion across multiple frames 218 00:18:36.970 --> 00:18:42.050 This technique is effectively used in dynamic sequences, particularly in action sequences 219 00:18:42.050 --> 00:18:46.881 In visual media, slow motion or montages convey 220 00:18:46.881 --> 00:18:52.277 The intensity and energy of action moments within scenes, creating a sense of detail and immediacy 221 00:18:52.277 --> 00:18:57.731 When you gather the condensed action movements as energy over time and 222 00:18:57.731 --> 00:19:04.198 release the burst of energy in the next scene, it creates satisfying impact and a sense of speed 223 00:19:04.198 --> 00:19:12.337 You've probably seen this technique applied in Webtoons as well, techniques from films and animations 224 00:19:12.337 --> 00:19:17.667 While it's possible to show one second of time through several frames 225 00:19:17.667 --> 00:19:22.317 The time it takes for the cup to fall from the table to the ground 226 00:19:22.317 --> 00:19:28.020 Can be stretched out to an hour or even a year 227 00:19:28.020 --> 00:19:35.089 This time, the tilting cup that was nudged, falls without either of the characters catching it 228 00:19:35.089 --> 00:19:40.327 because somehow both of them seem to lack the reflexes 229 00:19:40.327 --> 00:19:44.251 It is falling straight to the ground 230 00:19:44.251 --> 00:19:46.344 keep falling 231 00:19:46.344 --> 00:19:49.327 How tall is the table? We never know 232 00:19:49.327 --> 00:19:52.756 We are just focusing on the cup as it falls to the ground 233 00:19:52.756 --> 00:19:55.643 It continues to fall endlessly 234 00:19:55.643 --> 00:20:00.000 If this continues, it would keep falling until the end of human civilization 235 00:20:00.000 --> 00:20:03.916 Unless someone draws the scene of it hitting the ground giving it an ending, 236 00:20:03.916 --> 00:20:09.455 The cup will continue to fall until the end of civilization 237 00:20:09.455 --> 00:20:15.141 Like this in Webtoons, physical time can be 238 00:20:15.141 --> 00:20:20.584 Fragmented or extended according to the author's intention 239 00:20:20.584 --> 00:20:25.853 Even in page format, it's possible to control time in the similar manner, 240 00:20:25.853 --> 00:20:30.978 But Webtoons in the in the scroll format have gained an advantage in expressing time 241 00:20:30.978 --> 00:20:35.079 Due to the infinite vertical space 242 00:20:35.079 --> 00:20:41.960 In the scroll format, the infinite vertical axis doesn't just represent only time 243 00:20:41.960 --> 00:20:46.896 In comics, the space between frames is basically time 244 00:20:46.896 --> 00:20:52.931 Especially, in the page format, the gutter is a crucial element 245 00:20:52.931 --> 00:20:58.015 It's because with the constraints of being single pages, the gutters created by dividing frames 246 00:20:58.015 --> 00:21:02.218 Serve as the only spacing and intervals 247 00:21:02.218 --> 00:21:10.311 Even the freedom in spacing of scroll format is limited to only vertical axis 248 00:21:10.311 --> 00:21:13.483 When there's a need to arrange frames horizontally 249 00:21:13.483 --> 00:21:17.416 The gutters serve a similar conceptual purpose as those in page format 250 00:21:17.416 --> 00:21:24.683 Like so, with a single frame that spans beyond the gutter, you can convey the passage of centuries 251 00:21:24.683 --> 00:21:30.383 Surely, in the scroll format, creating vertical intervals in a serial fashion 252 00:21:30.383 --> 00:21:35.040 allows you to comfortably convey the rhythm of time 253 00:21:35.040 --> 00:21:43.525 However, when arranged horizontally in parallel, the tempo of transitioning between frames 254 00:21:43.525 --> 00:21:49.653 Becomes instantaneous, making it even more impactful than the vertical layout 255 00:21:49.653 --> 00:21:55.828 The time between frames separated by gutters doesn't flow in just one direction 256 00:21:55.828 --> 00:21:59.713 It can also flow in the opposite direction 257 00:21:59.713 --> 00:22:04.970 The time between frames separated by gutters could range from 0.1 seconds to 100 years 258 00:22:04.970 --> 00:22:10.980 A fleeting moment of dodging a flying spear can be depicted with two frames 259 00:22:10.980 --> 00:22:15.000 Or it can leap over a span of 100 years with a single frame 260 00:22:15.000 --> 00:22:21.693 However, you can also sense the passage of time slowly and perceive the flow of time gradually 261 00:22:21.693 --> 00:22:25.927 By arranging these frames in a scroll format, 262 00:22:25.927 --> 00:22:29.634 We can adjust the time as needed for the situation 263 00:22:29.634 --> 00:22:36.158 This allows dynamic emotions to be portrayed with shorter intervals, creating faster and more urgent pace 264 00:22:36.158 --> 00:22:41.920 Static emotions to be portrayed with longer intervals, allowing for a more leisurely and contemplative pace 265 00:22:41.920 --> 00:22:46.188 Enabling the emotions to be fully experienced 266 00:22:46.188 --> 00:22:52.703 Of course, gutters between frames serve not only as separators of physical time but also play other roles 267 00:22:52.703 --> 00:23:01.059 When using gutters connecting frames to show changes in location or situation, 268 00:23:01.059 --> 00:23:08.842 They can also represent spatial movement, but fundamentally, they all denote time 269 00:23:08.842 --> 00:23:16.495 The basis for frames being able to contain emotions and time is because they encapsulate the story within them 270 00:23:16.495 --> 00:23:20.280 To determine the intensity of emotions by the size of frames and 271 00:23:20.280 --> 00:23:25.442 to create the rhythm of time through spacing of gutters between frames, 272 00:23:25.442 --> 00:23:29.069 Each frames should actually contain stories 273 00:23:29.069 --> 00:23:33.930 To direct a Webtoon, there must be a story to tell 274 00:23:33.930 --> 00:23:39.287 what is the smallest pixel containing a story to express emotion? 275 00:23:39.287 --> 00:23:41.404 It is dialogue 276 00:23:41.404 --> 00:23:45.234 Designing a frame containing both emotional dialogue and scene 277 00:23:45.234 --> 00:23:49.000 Is often the first step in creating a Webtoon 278 00:23:49.000 --> 00:23:53.540 We covered that directing emotion using the visual layout of frames in Wetoons 279 00:23:53.540 --> 00:23:58.683 Involves adjusting the size of frames and the spacting between them 280 00:23:58.683 --> 00:24:03.907 And emotions can also be portrayed through the shape of the frames 281 00:24:03.907 --> 00:24:08.324 Using the psychological associations of shapes, such as the stability of rectangles 282 00:24:08.324 --> 00:24:14.297 And the uneasiness of inverted triangles, we can design shape of the frames 283 00:24:14.297 --> 00:24:20.548 In contrast to page format, scroll format allows for more freedom within viewer's space 284 00:24:20.548 --> 00:24:24.950 It enables the entire space to be dedicated to the shape of a single frame 285 00:24:24.950 --> 00:24:30.262 The freedom to design a single frame within the given space 286 00:24:30.262 --> 00:24:34.000 Is the greatest strength of the scroll format is that 287 00:24:34.000 --> 00:24:39.762 To depict extreme static emotions, we can make the canvas frame as large as possible 288 00:24:39.762 --> 00:24:46.267 And place the subject within it as small as possible to create an extreme contrast 289 00:24:46.267 --> 00:24:51.013 Also, we can fill the frame completely to show whatever we desire to convey 290 00:24:51.013 --> 00:24:57.317 We can also create a sense of unease by making the frame tall and narrow 291 00:24:57.317 --> 00:25:02.573 When some tension in a stable situation where a stable square frame fits needs to be created, 292 00:25:02.573 --> 00:25:10.238 Using a narrow horizontal and tall vertical rectangular frame 293 00:25:10.238 --> 00:25:13.436 Can be more effective in conveying emotions 294 00:25:13.436 --> 00:25:18.052 The narrow rectangular frame gives the feeling of pressure tightly constraining the character 295 00:25:18.052 --> 00:25:22.349 Character could be drawn larger or the frame could be tightened further 296 00:25:22.349 --> 00:25:26.842 To make the character feel more constrained within the frame 297 00:25:26.842 --> 00:25:33.891 Like this, only using the shape of rectangular frames, emotions can be conveyed 298 00:25:33.891 --> 00:25:40.159 This aspect of direction can be even more effectively executed when concepts 299 00:25:40.159 --> 00:25:42.564 related to camera angles and shots are applied together 300 00:25:42.564 --> 00:25:50.436 Chaotic dynamic emotions can also be reinforced by irregularly shaped frames bursting out unpredictably 301 00:25:50.436 --> 00:25:55.221 The tilted irregular shape of the frame lacks stability 302 00:25:55.221 --> 00:25:59.267 Therefore it's great for expressing anxiety and tension 303 00:25:59.267 --> 00:26:03.040 In scroll format, the freedom of vertical space allows for diverse and engaging frame layouts 304 00:26:03.040 --> 00:26:07.584 Making it a versatile medium for portraying both dynamic and static scenes 305 00:26:07.584 --> 00:26:12.827 The more actively authors utilize this freedom, the more captivating the storytelling becomes 306 00:26:12.827 --> 00:26:17.762 ultimately capturing the reader's attention 307 00:26:17.762 --> 00:26:21.605 We've grasped that the size of a frame can convey the intensity of emotions, 308 00:26:21.605 --> 00:26:28.574 And the gutters between frames can create a sense of fleeting moments and spirit 309 00:26:28.574 --> 00:26:32.160 We've also realized that by adjusting the number of frames according to dialogue or situation, 310 00:26:32.160 --> 00:26:35.366 We can manipulate the passage of time 311 00:26:35.366 --> 00:26:42.750 In this short yet long flow, within the infinite expanse of time 312 00:26:42.750 --> 00:26:51.376 Arranging various shapes and sizes of frames to create a rhythmic flow 313 00:26:51.376 --> 00:26:55.356 Directing is about creating the breath of emotions 314 00:26:55.356 --> 00:27:01.178 Webtoons is the stage and canvas provided by the size of the mobile device screen 315 00:27:01.178 --> 00:27:08.525 Directing frames based on their shapes is the initial design work for a prepared script 316 00:27:08.525 --> 00:27:14.079 Deciding on the shape of the frames is the first step in creating an image storyboard 317 00:27:14.079 --> 00:27:18.198 The delivery of the drama varies depending on how it's directed 318 00:27:18.198 --> 00:27:22.623 Webtoons is another form of delivering stories to readers 319 00:27:22.623 --> 00:27:26.683 through the arrangement of sequential images in frames 320 00:27:26.683 --> 00:27:30.576 Hope you recognize the differences between page format and scroll format 321 00:27:30.576 --> 00:27:37.881 And leverage the strengths of the scroll format to make more engaging and appealing Webtoons 322 00:27:37.881 --> 00:27:38.693 Thank you 323 00:27:40.332 --> 00:27:42.182 Summary 1. Concept of directing What is directing? Using sensory elements to effectively convey author's message 324 00:27:42.182 --> 00:27:44.032 2. Directing in page format frame layout Page format An optimal viewing format tailored to traditional book dimensions 325 00:27:44.032 --> 00:27:45.882 Directing in page format frame layout Multiple frames within a single page vary in size based on the intensity of emotions The frame shape can evoke psychological feelings in the reader 326 00:27:45.882 --> 00:27:47.748 Frames are arranged considering the reader's gaze from left to right, top to bottom Since the arrangement of frames is read sequentially following the flow of gaze, gutters become a representation of time 327 00:27:47.752 --> 00:27:50.348 Directing in scroll format frame layout Scroll format Optimized viewing format for the vertical rectangular shape of mobile screens Frames are arranged sequentially according to the vertical format to match the flow of time 328 00:27:50.348 --> 00:27:52.744 To accommodate the reader's convenience, sometimes a single frame is used prominently to fit the dimensions of a mobile screen Varying the size of frames or utilizing the length of frames and gutters helps to convey the intensity of emotions 329 00:27:52.744 --> 00:27:55.149 Frames can be freely altered in appearance to depict static or dynamic scenes