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WEBTOON
Basics
What is directing? Directing inside frames

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GCC academy

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Learning Goals
Learn about Angle and Shot
Learn about Directionality and Rules
Learn about Speech bubbles and Sound effects

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Contents
Angle and Shot
Directionality and Rules
Speech bubbles and Sound effects

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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

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Nice to meet you, I'm Webtoons artist Kim Yong Hoi

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In this lecture, we are going to explore what directing inside the frame is about

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The size and shape of the frame make it intuitive to understand the image and emotion

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By varying the length of frames and the spacing between them, which is the gutter

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We can adjust the reading pace to be either longer or shorter

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With that, we prepare a story and using the concept of directing visual of the frames

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We design frames to make a storyboard

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When the shape and size of frames are determined, now it's time to draw

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The artist must consider and decide

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how to position and size the characters within this frame

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Let's explore how time is conveyed through the angles and shots

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within the frame to evoke emotions through the images within the frame

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We will cover the different types of angles and shots

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Secondly, we'll explore the techniques of directing within the frames through concepts of directionality and rules

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Thirdly, we'll explore directing through speech bubbles and sound effects

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Directing can be defined as the effective realization of the author's intentions

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Through various means such as character expressions, gestures, and positioning

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As well as background, lighting, and other elements

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Screen directing varies in emotions depending on the positioning, angles, or distances of the space and characters

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Also, it varies based on the direction of movement, contrast between subjects, lighting, and color

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Webtoons, like other storytelling media, need to effectively convey

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A cohesive narrative by connecting each frame where story and emotions are directed

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On this one page, while looking at a working mom coming home late

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Shows family members using eye level angle

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Giving information about their age, characteristics and so on

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Since it's a scene showing everyday life, a stable rectangular shape was chosen for frames

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The layout of the frames is also kept stable and to portray a quiet evening in a quiet home

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The size of the frames wasn't contrasted much

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And it was placed according to the size with balance on the page

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Now, let's take the page and use the scroll format

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The feeling of being crowded with combination of frames in the page format is gone

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Each individual frame has become more focused and important

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It's a scene showing a working mom entering the doorway

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with her husband welcoming her inside

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The eye level is adjusted to give a sense of psychological comfort and stability

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The scene of the daughter studying late into the night

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Reflects the mother's guilt through a narrow, elongated view through the gap of a door

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It portrays the mother looking in at her daughter from her eye level perspective

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Showing a clean kitchen from the child's eye level perspective

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The scene depicts the husband carrying his wife's bag ahead expressing affection

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Both individuals heading in the same direction convey emotional harmony

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The warm yellow lighting complements the atmosphere, creating a cozy ambiance that matches the scene

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Carefully opening the door to the young son's room, already asleep

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the narrow vertical rectangle frame encapsulates the mother's emotions

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The camera angle is elevated above the mother's head, allowing viewers to feel her emotions 

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As she gazes through the narrow gap in the door at her sleeping young son inside the room

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Like this, using the rules of directing images within the frame

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We can design emotions to be conveyed

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Directing screen is a choice of how to arrange images within a predetermined frame

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Elements of directing

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The composition, contrast, and color placement within the frame are used to direct emotions

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Let's explore the basic concepts of angles and shots, which are fundamental to the composition of the scene

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Angles refer to the concept of height and distance of the camera's viewpoint

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Shots refer to the concept of depth of field and the resulting size of the image visible on the screen

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Let's first briefly explore the types of angles

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The types of angles include bird's eye angle, high angle, and eye level angle

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There are also low angle, extreme low angle, and Dutch angle

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Bird's eye angle shows a landscape rather than a person

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Providing information about the location, era, etc., allows to experience the omniscient observer perspective

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High angle is a viewpoint looking down on the subject

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The subject's confinement within the background creates a feeling of being trapped in space and reality, enhancing the viewer's sense of superiority

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Eye level angle aligns the camera with the eyes of the subject

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Allowing viewers to feel comfortable with the same eye level perspective

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It aligns with the eye level of the character regardless of whether they are standing or sitting

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It's the most comfortable and commonly used angle, making it important

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On the other hand, a low angle is a viewpoint that looks up at the subject

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Showing a lot of ceiling or sky, giving a sense of liberation

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The low angle creates admiration and worship for the character, inducing a feeling of relative submission from the observer's inferior perspective

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Extreme low angle intensifies the low angle perspective, creating a more dramatic sense of intimidation

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A Dutch angle tilts the camera to create an unstable angle

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Expressing the character's tense emotions or increasing the depth of anxiety

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Extreme long shot, which focuses on the landscape, shows the situation and location

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Long shot shows the subject along with the surroundings

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Providing information about the subject's relationship and position

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Full shot shows the full body of the character

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Knee shot shows the area above the knees of the character

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It's useful for showing the character's body language

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Medium shot shows the area above the waist of the character

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Medium shot is good for showing both the character's expression and the scenery

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And it's also suitable for showing multiple characters

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Bust shot shows the area above the chest of the character


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Focusing more on their facial expression than their body language

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Close-up focuses on the character's face, cropping out the head

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And allowing only the chin to be visible, directing attention to the facial expression

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Extreme closeup intensely focuses on one part of the subject

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It could be a part of the face, body, or even an object

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As evident from angles and shots, the camera's distance or depth

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Also represents the emotional distance of the characters

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The closer they are, the more subjective the character's emotions become, while the further they are, the more objective

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As the shot gets closer, it suits the character's inner and essential dialogue

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While as it gets further, it suits the dialogue necessary

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For the situation or story development rather than the character's inner dialogue

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When inner dialogues suitable for close-ups are included in long shots

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It gives the impression of observing the character's emotions from an objective perspective

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The fundamental concept of emotional distance and angles becomes the basis of directing within the frame

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If angles represent the camera's perspective and shots denote distance to evoke emotions

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Then the positioning of characters also plays a role in evoking emotions

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The positioning of characters refers to where they are located

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In relation to the camera angle, whether they are facing the front, side, or back of the screen

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Generally, when depicting a character, the default perspective is front-facing

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However, to create drama, it's sometimes effective

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To show the side or back of the character

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A front-facing shot of a character focuses more on their emotions

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In contrast, a side view gives a more objective feeling

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Rather than showing a conversation between two people in profile

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showing the front of a character on screen allows the viewer to focus more on the speaking counterpart

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The back of a character allows for deeper inference of emotions due to hidden expressions

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Through a character facing away, readers experience the landscape or reality the character is facing

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A character shown only from the back, without any landscape

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Represents the emotions they are facing, leaving the reader 

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To imagine the character's emotional expression

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Let's explore directionality and principles

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There are several basic rules for directing the screen

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From classical paintings to photography and film

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Let's explore the rules commonly used in directing the screen

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The rule of thirds and the 180 degree rule are the most prominent rules

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First, let's explore the rule of thirds

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It creates four points where the lines intersect when the screen is divided into thirds both horizontally and vertically

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Placing the subject we want to highlight on these points creates a strong focal point

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In the same frame, subjects positioned at these four points will catch the viewer's attention first

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This utilizes the instinctive gaze that is naturally drawn to the center of the screen

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This helps place the subject at a stable position in the frame

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Using guidelines, we can create a focus effect as well

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Guidelines use lines such as horizontal, vertical, diagonal, and vanishing points on the screen

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to focus the viewer's attention

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These lines are used to guide the viewer's gaze to where the author desires, focusing their attention

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The strongest line is the vanishing point

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When organizing space around the vanishing point,

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Naturally, horizontal, vertical, or diagonal lines indirectly draw focus to the screen

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Even without a vanishing point, focusing attention is possible with just horizontal vertical, or diagonal lines

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Creating lines that lead towards the subject of focus in landscapes or structures

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Allows for focusing attention on the subject without necessarily having a vanishing point at the end

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Additionally, these lines can be created not only by landscapes or structures

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But also by the direction of characters' gazes or the movement of people

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Due to the small screen size, it's more important to emphasize what you want to convey

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And diminish the surrounding details, rather than cramming in too much complex information

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When showing consecutive frames of characters,

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Connecting shots with a size difference of two or more levels helps maintain continuity

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When suing consecutive frames featuring dialogue or ongoing situations,

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Frames either identical to the previous frame or have only a little difference

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Might lead to boredom since readers cannot notice any changes

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Even in scenes with continuous dialogue, varying the shot or angle in each frame

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helps convey dialogue or situations without boredom

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Since the sizes of characters or subjects noticeably change in the composion,

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it visually enhances interest

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The 180 degree rule is a film technique that maintains spatial continuity

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by establishing an imaginary line between two characters

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Sitting across from each other at a table and ensuring consistent eye contact

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And ensuring consistent eye contact

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And direction between them, preventing spatial confusion

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I'm talking about a technique in scenes where characters face each other and converse where the direction

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They face alternates between 180 degrees, similar to the numbering sequence of a camera in drawings

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Drawing them symmetrically to 180 degrees ensures consistency in the direction of the two people facing each other

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And maintains the setting that they are talking and facing each other in connected frames

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The alignment of gazes is a rule that, along with the 180 degree rule, establishes spatial continuity

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It dictates that in subsequent frames, the direction of characters' gazes

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Should remain consistent with the initial setup to maintain coherence

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To prevent confusion about directionality, consistent eye contact must be maintained

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Separate from the rule of aligning and maintaining characters' directional consistency

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Directionality in storytelling makes readers perceive

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Whether characters are facing forward or backward as they convey the narrative

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The flow of gaze is instinctively from left to right, and from top to bottom

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Most of humanity, for reasons unknown, are right-handed

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So, when holding an weapon, they tend to look left before looking to the right

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And they naturally gravitate downwards, towards the direction of gravity

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This is the most instinctive direction of gaze

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Directionality is based on this

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Let's express the instinctive direction

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Scenes of walking or running naturally progress from left to right

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It's the direction that's instinctively perceived as natural, following the instinct of gaze

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Regarding Japanese manga, since the books are read from right to left, the horizontal gaze direction is opposite to ours

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The natural direction in which characters move is from top to bottom

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Progressing from top to bottom, simultaneously from left to right

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Adding diagonal angles creates a more dynamic feeling

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The direction that is instinctively perceived extends beyond just characters

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It applies to all expressions of directionality

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Not only scenes of people walking or running, but also

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The direction of movement of a car or action scenes where fists are thrown are also the same

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This instinctive direction is the default direction

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Default direction evokes a sense of natural directionality without resistance

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It's the direction of compliance, the power of compliance

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Expressing force or speed in this direction naturally conveys a sense of speed

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Additionally, incorporating motion lines enhances the sense of speed even further

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As a guideline for directing attention, in comics, the use of motion lines and focus lines

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Can be maximized to concentrate the reader's gaze

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Let's add motion lines to the same picture

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And let's also add large text for sound effects

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Finally, let's add some effects

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Let's express a sense of motion or impact, and add particles resembling dust or sweat flying in the air

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Applying these decorative effects also follows the guidelines of directional rules and eye alignment

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Consistency in directionality is essential

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The ultimate way to create a sense of spatial presence is to depict the air, the atmosphere

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The direction opposite to the default direction is the reverse direction

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The reverse direction evokes a sense of resistance

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People who feel comfortable with this direction are generally accustomed to the direction of Japanese manga

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As I mentioned, in Japan, comic is read from right to left


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Those who primarily read or study Japanese comics

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Often unconsciously incorporate the directional style of Japanese cuts when creating storyboards

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Watch for the reverse directionality when it comes to this aspect

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Because the reverse directionality doesn't feel natural, even running individuals may give a sense of resistance

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It evokes not the force of action, but rather the emotion of reaction, counteraction

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In the picture, the car appears to be heading towards the upper right corner

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The default direction evokes a sense of compliance, while the reverse direction evokes a sense of resistance

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If the default direction represents action, then the reverse direction represents reaction

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So, scenes where the protagonist is striking or blocking are better depicted in the default direction

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Just by looking at the picture within the frame, you can naturally sense who is the actor in the action

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The character moving in the default direction from the left is perceived as the actor in the action

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Scenes with pulling action should place the action initiator in the reverse direction for optimal effect

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In scenes with pulling action from left to right, it feels like the actor is being pulled towards the other party

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The same picture, when reversed, becomes a scene of pulling from right to left

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Making it appear as if the actor is pulling the other party

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The directionality within the frames should be consistent with the concepts of default and reverse directions

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Following the laws of directionality, to ensure that readers are not confused

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Speech bubbles and sound effects

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Let's examine the position and direction of dialogue and speech bubbles

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In Webtoons, directing within the frame involves not only the placement of characters and backgrounds,

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But also setting the position and shape of speech bubbles

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And determining the shape, size, and placement of onomatopoeic words for sound effects

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We prepare it in a screenplay style, with dialogue for characters and action descriptions

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The minimum pixels to convey the emotion of a frame is the dialogue

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Some frames don't have dialogue

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Some frames have multiple speech bubbles for prepared dialogue

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Some sentences are significant enough to be divided and placed in two separate frames

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Surely, it's up to the author to determine the chunkiness and weight of that dialogue

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Each author has their own sensibility, and the interpretation of the weight of dialogue

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May vary depending on the story they want to convey

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For frames with small emotional intensity, concentrating dialogue 

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Helps convey more common, plain emotions

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Since the dialogue in these frames is also likely to be ordinary and common

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Or, they could be foreshadowing dialogue, hinting at more significant conversations or situations to come in larger frames

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Even if there's a lot of dialogue, filling small frames

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with speech bubbles can make the dialogue flow naturally

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Readers perceive it as an engaging image within one frame

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A man is planning to express his feelings to a friend who he hasn't seen in a long time

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Remember that friend we both liked? You remember, right?

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We all hung out together that time, remember?

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Everyone seemed interested in that friend, we all wanted to start a conversation

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To be honest, I also liked that friend

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I've been thinking that when we meet again, I should tell her that I like her

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It's also effective not to include dialogue in frames with significant emotional intensity

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Emotions don't always have to be expressed through words

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That friend got married

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Adjust the size and spacing of the prepared dialogue in the script to fit the flow of gaze

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And prepare frames with emotional intensity to accommodate the speech bubbles

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Then, arrange the dialogue in the next frame at a suitable distance to allow for emotionally paced reading

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creating a natural flow of gaze over time in the scroll

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The placement of speech bubbles should align with the flow of gaze

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We shouldn't misplace speech bubbles' height, making the reader read dialogue that should come later first

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Let's look at the diagram

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The speech bubbles in the example frame made two mistakes

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Firstly, the height of the speech bubbles should be different to ensure that the dialogue is read sequentially

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Secondly, to maintain the progression of the character's situation

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It would be better to move the speech bubble of the receiving character all the way down

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We don't need to adhere to the restrictive habits of page format

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Because this is a vertical infinite scroll

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Narration also had to be placed inside the frame due to the narrow layout of the page format

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But in a scroll format, placing narration between frames enhances readability

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The font size is also increased for better visibility

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The shape of speech bubbles is determined by the emotion of the dialogue

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Dialogue that is shouting out loud is depicted with sharp, intense shapes resembling waves

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While dialogue conveying subdued emotions is represented with crinkly, irregular shapes resembling deflated balloons

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Webtoons is visual mediums that express drama through images alone

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Sound effects are a way to express auditory sensations in the visual medium of Webtoons

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Sound effects are sounds perceived outside of speech bubbles, recognized through illustrations

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The font and shape of sound effects can express their characteristics, representing qualities like strength and dullness

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And they can also indicate sharpness

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We can use font size to represent the volume of sound and the shape of the typeface to express emotions

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In Webtoons, directing a frame involves creating a container for the emotional content of the frame through its size and shape

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Inside the frame, the camera angle, shot composition, and direction of the camera towards the characters are established

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Guidelines for focusing on characters and shaping the background are set to complete the image of one frame

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Adding speech bubbles of suitable shapes and sizes

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Along with large text if necessary, completes the directing a frame

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Dynamically intense and emotionally explosive scenes

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Require large, impactful sound effects

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Adding light and effects enhances the sense of speed and impact, making it even more powerful

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Thus, we've explored effective screen direction utilizing angles, shots

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And the flow of gaze within a frame

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The shape and spacing of frames are designed to create a rhythm

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With the images within those frames expressing emotions to drive that rhythm

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The directing that creates emotions aims to establish the emotional atmosphere of the scene

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Emotions refer to the feelings or mental states that occur in a person's mind or evoke emotions

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Directing is precisely about controlling the rhythm and creating emotions to convey them to the audience

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Thus, selecting speech bubble shapes that suit this purpose is 

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 Akin to choosing the appearance of the frame

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The large text sound effects, depicted as sound through images in Webtoons

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Should align with the emotions conveyed within the frame to effectively communicate with the reader

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Choosing colors that match the emotions conveyed within the frame is also essential

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There's also the concept of temperature in colors, which is an important element in emotional directing

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Ultimately, the reason for creating and evoking a sense of time is to establish rhythm

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In dramas, each situation has its own tempo

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There are also times when the scenes should flow quietly and slowly, just as they are portrayed

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There are also times when dynamic and tense scenes should be shown quickly and forcefully

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Showing the emotion of the scene along with

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the sense of time passing is the purpose of directing

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When a writer accurately conveys the emotions and rhythm of a drama

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Viewers can experience the essence of the story more deeply

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Thus, individuals who convey stories through imagery and also enjoy and understand music

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May have an advantage in conveying such emotions more effectively

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Keeping those fundamental concepts in mind, I hope you create even more impressive and entertaining Webtoons

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Thank you

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Summary
Angle and shot
Angle
Camera angles, height, and distance
Shot
The depth of gaze and its impact on the size of the image visible on the screen

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Directionality and rules
The rule of thirds
Utilizing the instinctual gaze naturally drawn to the center of the screen
Positioning the subject at a stable point within the space

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Guidelines
Utilizing horizontal, vertical, diagonal lines, and vanishing points on the screen to focus the viewer's gaze

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180 degree rule
Alternating the directionality of characters facing each other
in a conversation scene by adhering to a consistent 180 degree orientation

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Speech bubbles and sound effects
Dialogues
Minimum pixel for conveying emotions in dialogue
Speech bubbles placement
Adjusts size and spacing according to the flow of gaze
Varying the height to ensure sequential reading of dialogue from top to bottom

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Speech bubbles for subsequent dialogue are positioned below
Sound effects
Sounds recognized through illustrations extending beyond speech bubbles

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Directing sound effect
Adding speech bubbles of appropriate shape and size, along with large text, onto the completed artwork to complement the dialogue
Dynamic and emotionally explosive scene: Requires large text and impactful sound effects