1 00:00:03.937 --> 00:00:09.937 WEBTOON Basics Dynamic directing and static directing 2 00:00:09.937 --> 00:00:12.574 GCC Academy 3 00:00:12.574 --> 00:00:15.224 Learning Goals Learn the meaning behind each frame in comics and be able to apply it when directing and directing frames By diversifying frame placement, one can achieve natural and easily readable storytelling 4 00:00:15.224 --> 00:00:17.901 Understanding the difference between dynamic and static directing and being able to apply it directly to the manuscript Learning Contents Understanding the significance of each frame Placement of Frames Dynamic directing and static directing 5 00:00:18.465 --> 00:00:23.822 Kang Ji Young Careers: Mentor at Seoul Webtoon Academy Works: KingsMaker OH, MY GOD! 2014 NAVER WEBTOON, What if? JIOK Camp Short Story Season 2 Convenience Store Demon king 6 00:00:24.261 --> 00:00:27.327 Nice to meet you, I am Webtoons artist Kang Ji Young 7 00:00:27.327 --> 00:00:28.957 I am the author of Kingsmaker published by Kakaopage and Lezhin Comics 8 00:00:28.957 --> 00:00:31.183 I am also the author of OH, MY GOD! published by NAVER 9 00:00:31.183 --> 00:00:35.840 In this lecture, let's explore dynamic directing and static directing 10 00:00:35.840 --> 00:00:40.900 Let's start with what directing is and then dig into the specific techniques for different types of frame directing 11 00:00:41.654 --> 00:00:47.466 The significance of frames 12 00:00:47.922 --> 00:00:51.140 First, we need to understand what a 'frame' signifies 13 00:00:51.140 --> 00:00:52.319 Please Look at the screen 14 00:01:04.423 --> 00:01:07.571 Can you tell what each shape represents? 15 00:01:07.571 --> 00:01:14.320 Each shape represent a paper comic book, a mobile screen, and a computer screen, respectively 16 00:01:14.320 --> 00:01:18.929 This particularly showcases the viewing range on commonly used screens when reading Webtoons 17 00:01:18.929 --> 00:01:21.120 Which comes in at a glance 18 00:01:21.120 --> 00:01:25.040 For comic books, it's the spread visible when you open it flat, showing both pages 19 00:01:25.040 --> 00:01:33.760 On average, it typically contains between 10 to 15 frames 20 00:01:33.760 --> 00:01:37.839 Mobile and computer screens show an amount that fits perfectly on the screen 21 00:01:37.839 --> 00:01:42.380 Usually as many as one to three frames 22 00:01:42.380 --> 00:01:44.077 Let me draw in frames just to show 23 00:02:01.599 --> 00:02:04.720 Are you familiar with these shapes? 24 00:02:04.720 --> 00:02:10.960 These shapes represent the unit of comics and Webtoons that can be seen at a glance 25 00:02:10.960 --> 00:02:14.479 Don't you read Webtoons or comic books very quickly? 26 00:02:14.479 --> 00:02:18.349 And Rarely find yourselves going back to reread frames you've already read right? 27 00:02:18.349 --> 00:02:25.199 So, once I've grasped the content or moved on, the previous frames tend to fade from memory 28 00:02:25.199 --> 00:02:30.399 On mobile, frames might pass by like this 29 00:02:30.399 --> 00:02:36.559 While on PC, they might pass like this 30 00:02:36.559 --> 00:02:40.000 Readers tend to focus on the frames that catch their eye 31 00:02:40.000 --> 00:02:42.479 Within this range 32 00:02:42.479 --> 00:02:47.119 So, you can think of the visible area as the unit of directing 33 00:02:47.119 --> 00:02:53.119 The amount depicted here represents the quantity visible at a glance when viewing Webtoons on each respective medium 34 00:02:53.119 --> 00:02:57.199 What's visible at a glance doesn't necessarily act all at once 35 00:02:57.199 --> 00:03:01.440 Some parts may be seen first while others are seen later, indicating there's a sequence 36 00:03:01.440 --> 00:03:03.803 Let's discuss each medium in detail 37 00:03:10.040 --> 00:03:15.199 For page format comics, it's typically from the top left to the bottom right 38 00:03:15.199 --> 00:03:19.119 In Japanese manga, it's from the top right to the bottom left 39 00:03:19.119 --> 00:03:23.919 On mobile and computer screens, it's centered 40 00:03:23.919 --> 00:03:31.679 There's a difference in the direction when reading from top to bottom 41 00:03:31.679 --> 00:03:35.410 That's why page comics often place the most important directing 42 00:03:35.410 --> 00:03:38.639 In the top left and bottom right corners of the page 43 00:03:38.639 --> 00:03:41.479 Alternatively, they avoid placing crucial directing 44 00:03:41.479 --> 00:03:45.679 Outside of these diagonals to aid the flow of gaze 45 00:03:45.679 --> 00:03:48.119 You've probably seen many instances where there's a big frame 46 00:03:48.119 --> 00:03:51.199 When you first open or flip to a new page 47 00:03:51.199 --> 00:03:54.520 That's because, in terms of flow, that frame is crucial 48 00:03:54.520 --> 00:03:59.240 Additionally, important speech bubbles or dialogue are not placed on the outer edges 49 00:03:59.240 --> 00:04:01.759 Originally, it's largely due to printing technology 50 00:04:01.759 --> 00:04:07.160 Printing outside of this area can lead to printing errors or damage 51 00:04:07.160 --> 00:04:10.679 In the case of webtoons, speech bubbles and important directing are typically kept 52 00:04:10.679 --> 00:04:16.440 Within the center to avoid disrupting the fixed reading flow 53 00:04:16.440 --> 00:04:20.760 Especially to ensure that scrolling fingers don't cover them 54 00:04:20.760 --> 00:04:23.640 When writing a script, you need to include speech bubbles and dialogue 55 00:04:23.640 --> 00:04:25.440 Below, I'll express it in script format 56 00:04:25.440 --> 00:04:29.600 In many cases, you'll need to write this in the storyboard 57 00:04:29.600 --> 00:04:32.559 Just by ensuring they don't stray from the center 58 00:04:32.559 --> 00:04:35.780 And don't disrupt the natural flow 59 00:04:35.780 --> 00:04:38.123 The quality of the manuscript improves significantly 60 00:04:40.509 --> 00:04:42.430 How can we place them 61 00:04:42.430 --> 00:04:45.279 in the center without obstructing the artwork? 62 00:04:45.279 --> 00:04:50.119 In that case, you can extend the speech bubble outside the frame 63 00:04:50.119 --> 00:04:53.640 It's best to position the speech bubble in the center to prevent it from being cut off 64 00:04:53.640 --> 00:04:54.631 For example, let me show you 65 00:04:58.760 --> 00:05:05.821 Just position it in the center like this to avoid this happening 66 00:05:05.821 --> 00:05:08.880 Many platforms have white backgrounds 67 00:05:08.880 --> 00:05:12.279 So, if you make the speech bubble extend outside the screen like this 68 00:05:12.279 --> 00:05:15.474 It will appear like this when viewed 69 00:05:19.919 --> 00:05:22.640 Then it might give the impression that the speech bubble is being cut off midway 70 00:05:22.640 --> 00:05:27.480 So, it's better to bring it inward and position it in the center as much as possible 71 00:05:27.480 --> 00:05:30.403 Also, it's best to position the script format 72 00:05:35.839 --> 00:05:40.040 Within the speech bubble in the center like this 73 00:05:40.040 --> 00:05:42.559 Surely, by deliberately deviating from the center 74 00:05:42.559 --> 00:05:45.480 We can create awkwardness or tension 75 00:05:45.480 --> 00:05:49.399 However, not every frame needs to be tense 76 00:05:49.399 --> 00:05:52.000 Since we're talking about speech bubbles, let's dig into it a bit more 77 00:05:52.000 --> 00:05:54.839 Have you ever heard thsee jokes before? 78 00:05:54.839 --> 00:05:57.359 Don't use Times New Roman! 79 00:05:57.359 --> 00:06:00.480 I'm speaking in Arial right now! 80 00:06:00.480 --> 00:06:03.839 It means that the impression given by the font is important 81 00:06:03.839 --> 00:06:07.200 To be honest, it's all up to the author regardless of the font 82 00:06:07.200 --> 00:06:09.320 As long as it's consistent 83 00:06:09.320 --> 00:06:12.480 The most important thing in speech bubbles is consistency 84 00:06:12.480 --> 00:06:15.880 It's about having a pattern that become an eyesore 85 00:06:15.880 --> 00:06:18.600 Shall we look at some examples of speech bubbles 86 00:06:18.600 --> 00:06:21.359 You might think, 'Does the quality of speech bubbles really make that much of a difference?' 87 00:06:21.359 --> 00:06:24.959 However, let me show you a few extreme examples 88 00:06:24.959 --> 00:06:26.508 What should the dialogue be? 89 00:06:29.359 --> 00:06:32.000 Have you eaten? 90 00:06:32.000 --> 00:06:36.550 No, I haven't yet 91 00:06:36.550 --> 00:06:37.940 I'm so hungry 92 00:06:41.950 --> 00:06:44.320 Yea? 93 00:06:44.320 --> 00:06:46.821 How about we go get some tteokbokki then? 94 00:06:49.791 --> 00:06:51.640 Will use these 95 00:06:51.640 --> 00:06:54.458 To make different speech bubbles 96 00:07:36.676 --> 00:07:40.640 What do you think? Do you ever have thoughts like, 'Who talks like this?' or 'Who says things like that 97 00:07:40.640 --> 00:07:43.959 Not paying attention can lead to mistakes that are easy to make 98 00:07:43.959 --> 00:07:46.239 If the speech bubbles aren't consistent, readers can instantly 99 00:07:46.239 --> 00:07:47.880 Be like Oh! And pause 100 00:07:47.880 --> 00:07:51.040 If this keeps happening, it's like constantly hitting the brakes in a car, 101 00:07:51.040 --> 00:07:52.880 Disrupting the reading rhythm 102 00:07:52.880 --> 00:07:57.119 Speech bubbles typically have a consistent thickness 103 00:07:57.119 --> 00:07:58.679 Although the exact thickness varies among authors 104 00:07:58.679 --> 00:08:01.519 In general, it's similar to the thickness of the frames 105 00:08:01.519 --> 00:08:03.920 Frames and speech bubbles should be made familiar to the eye 106 00:08:03.920 --> 00:08:06.519 So authors often stick to a consistent thickness that readers are accustomed to 107 00:08:06.519 --> 00:08:08.720 If you want to use a speech bubble for shouting 108 00:08:08.720 --> 00:08:11.074 It's best to maintain a similar ratio 109 00:08:18.480 --> 00:08:23.600 Ensuring the size proportion is similar 110 00:08:23.600 --> 00:08:24.959 If drawing is difficult, 111 00:08:24.959 --> 00:08:28.640 You can still make shouting speech bubbles have a similar feel by matching their style 112 00:08:28.640 --> 00:08:30.720 Whether it's vertical speech bubbles horizontal speech bubbles, 113 00:08:30.720 --> 00:08:34.239 Or circular speech bubbles, as long as they're consistently repeated throughout the work 114 00:08:34.239 --> 00:08:36.239 Readers will easily adapt 115 00:08:36.240 --> 00:08:37.919 For example, 116 00:08:37.919 --> 00:08:39.799 Shall we draw a proper speech bubble? 117 00:08:52.599 --> 00:08:56.679 How about now? Do you feel a consistency? 118 00:08:56.679 --> 00:08:59.200 Next, let's look at the spacing between the text and the speech bubble 119 00:08:59.200 --> 00:09:03.200 It's good to leave some room for flexibility 120 00:09:03.200 --> 00:09:06.919 The spacing should be relatively consistent overall 121 00:09:06.919 --> 00:09:09.520 Like so 122 00:09:09.520 --> 00:09:14.000 Like so 123 00:09:14.000 --> 00:09:17.080 Have you ever seen a webtoon where only monologue or narration 124 00:09:17.080 --> 00:09:19.280 Is written in a different font? 125 00:09:19.280 --> 00:09:21.799 This is a directing technique that allows readers to understand 126 00:09:21.799 --> 00:09:24.280 Without consciously realizing it, that this is different from regular dialogue 127 00:09:24.280 --> 00:09:26.479 By intentionally separating them 128 00:09:26.479 --> 00:09:28.599 For this purpose, it's best to keep regular dialogue consistent 129 00:09:28.599 --> 00:09:31.320 With a standard setting 130 00:09:31.320 --> 00:09:32.509 If you've listened this far, you'll understand 131 00:09:32.509 --> 00:09:36.880 That the purpose of this lecture is natural directing 132 00:09:36.880 --> 00:09:38.440 The first step in natural directing is 133 00:09:38.440 --> 00:09:40.799 To considerate the viewers so they can watch 134 00:09:40.799 --> 00:09:45.479 Comfortably without being bothered by anything 135 00:09:45.479 --> 00:09:49.840 Next, let's explore about directing diversely 136 00:09:49.840 --> 00:09:51.640 One of the most challenging aspects of 137 00:09:51.640 --> 00:09:53.359 Writing a Webtoon script seems to be 138 00:09:53.359 --> 00:09:55.400 Oh? Isn't this the same frame I used before? 139 00:09:55.400 --> 00:09:57.599 Am I using similar frames repeatedly? 140 00:09:57.599 --> 00:09:59.239 I tried to avoid repeating similar frames 141 00:09:59.239 --> 00:10:01.919 By incorporating various perspectives, but it feels cluttered 142 00:10:01.919 --> 00:10:03.799 These seem some of the common difficulties 143 00:10:03.799 --> 00:10:06.799 It's problematic whether too monotonous or too diverse 144 00:10:06.799 --> 00:10:08.559 It seems these are why people are dealing with a lot of concerns 145 00:10:08.559 --> 00:10:11.640 Alright, I'll show you a few examples of simplifying frames 146 00:10:30.880 --> 00:10:31.624 First 147 00:10:42.050 --> 00:10:42.878 Second 148 00:10:51.680 --> 00:10:52.758 Third 149 00:11:03.451 --> 00:11:07.320 Okay, these are all instances where each looks simplified for different reasons 150 00:11:07.320 --> 00:11:12.520 The first case is where all the frame sizes are the same 151 00:11:12.520 --> 00:11:14.840 You can easily notice when frame sizes are the same 152 00:11:14.840 --> 00:11:19.520 Repeating frames of the same size gives a consistent feel 153 00:11:19.520 --> 00:11:23.440 You could say that four frame comics or slice of life comics maximize this feeling 154 00:11:23.440 --> 00:11:26.919 Simplifying frames intentionally suits Webtoons that aim to deliver enjoyment 155 00:11:26.919 --> 00:11:29.640 Through unexpected twists or short gags 156 00:11:29.640 --> 00:11:34.000 However, it's not suitable for genres like drama or thriller 157 00:11:34.000 --> 00:11:36.009 Where you need to induce reader immersion 158 00:11:36.009 --> 00:11:36.773 Secondly 159 00:11:39.011 --> 00:11:42.159 In this case, the characters are all the same size in each frame 160 00:11:42.159 --> 00:11:45.200 Even if the boxes vary, if they all contain the same item 161 00:11:45.200 --> 00:11:47.520 They'll eventually seem like the same gift 162 00:11:47.520 --> 00:11:49.080 No matter how diverse the frames are, 163 00:11:49.080 --> 00:11:55.039 If the characters are repeated in the same size, it gives a monotonous feel 164 00:11:55.039 --> 00:11:58.359 In slice of life or healing Webtoons, where a tranquil atmosphere is the main focus 165 00:11:58.359 --> 00:12:01.640 It's also best to avoid having characters all the same size in frames 166 00:12:01.640 --> 00:12:05.840 The third, these might be the most difficult to understand 167 00:12:05.840 --> 00:12:08.347 If the distance from the top of the frame to the characters' heads 168 00:12:12.030 --> 00:12:15.640 If this is consistently the same in cropped frames, it gives a feeling of repetition 169 00:12:15.640 --> 00:12:18.280 Even if the frame sizes and character sizes vary 170 00:12:18.280 --> 00:12:21.400 Especially if you develop a habit of drawing from the head on an empty canvas 171 00:12:21.400 --> 00:12:22.679 Without consciously considering it 172 00:12:22.679 --> 00:12:26.080 You may end up consistently overusing similar margins 173 00:12:26.080 --> 00:12:29.039 Because margins are also important elements within frames 174 00:12:29.039 --> 00:12:32.159 It's essential to be mindful to avoid repetition 175 00:12:32.159 --> 00:12:34.840 Having these elements well mixed and varied can give a diverse feeling 176 00:12:34.840 --> 00:12:37.840 Even if the compositions are consistent 177 00:12:37.840 --> 00:12:40.239 What if the compositions are diverse as well? 178 00:12:40.239 --> 00:12:43.039 Then it would become even more diverse and colorful directing 179 00:12:43.039 --> 00:12:44.960 However, if you overuse varied compositions 180 00:12:44.960 --> 00:12:47.280 It can make the storytelling feel cluttered and chaotic 181 00:12:47.280 --> 00:12:48.400 Let's move on to the next example 182 00:13:13.689 --> 00:13:15.799 Like this, it feels very cluttered and chaotic 183 00:13:15.799 --> 00:13:18.039 Of course, there are times when such directing style is necessary 184 00:13:18.039 --> 00:13:22.119 However, it's not feasible for every frame in a 100 or 200 frame sequence to be like that 185 00:13:22.119 --> 00:13:24.919 Hence, natural cuts and angles become crucial 186 00:13:25.566 --> 00:13:29.219 Placement of frames 187 00:13:29.620 --> 00:13:32.840 Earlier, we talked about natural directing 188 00:13:32.840 --> 00:13:36.559 Natural direction means the reader should feel comfortable while reading 189 00:13:36.559 --> 00:13:40.840 In this context, reading refers to relying on the eyes, or visual perception 190 00:13:40.840 --> 00:13:43.280 Therefore, the closer it is to the angle seen with the eyes 191 00:13:43.280 --> 00:13:45.559 The closer it gets to comfortable direction 192 00:13:45.559 --> 00:13:48.200 Portraying angles that mimic what one would naturally see 193 00:13:48.200 --> 00:13:50.799 Helps make it more natural 194 00:13:50.799 --> 00:13:54.359 Many movies and drama genres that prioritize continuity 195 00:13:54.359 --> 00:13:57.880 Often use camera angles close to the human eye level 196 00:13:57.880 --> 00:14:00.719 This is referred to as eye level angle 197 00:14:00.719 --> 00:14:03.000 For convenience, let's call it eye level 198 00:14:03.000 --> 00:14:05.599 "Eye level" generally refers to the horizon line 199 00:14:05.599 --> 00:14:07.559 Where a person's eyes naturally fall 200 00:14:07.559 --> 00:14:09.960 Typically from the level of a person's eyes 201 00:14:09.960 --> 00:14:12.840 When they stand straight to slightly lowered when they bend down a bit 202 00:14:12.840 --> 00:14:15.359 Have you seen an image like this before? 203 00:14:34.719 --> 00:14:37.760 If this viewing perspective aligns with the horizon 204 00:14:37.760 --> 00:14:39.919 It can be called eye level 205 00:14:39.919 --> 00:14:41.280 To achieve a comfortable direction 206 00:14:41.280 --> 00:14:44.799 It's often best to arrange most frames to align with this eye level perspective 207 00:14:44.799 --> 00:14:47.323 I have a few frames from my Webtoon works as examples 208 00:14:49.650 --> 00:14:51.288 This is at eye level 209 00:14:55.021 --> 00:14:56.332 This also is at eye level 210 00:14:58.599 --> 00:15:02.880 It's tilted a bit but it still is at eye level 211 00:15:02.880 --> 00:15:04.191 This is at eye level 212 00:15:08.300 --> 00:15:09.678 This is at eye level 213 00:15:12.599 --> 00:15:13.730 This is at eye level 214 00:15:15.760 --> 00:15:18.280 This is at eye level 215 00:15:18.280 --> 00:15:19.880 Shall I show you some consecutive frames as well? 216 00:15:19.880 --> 00:15:25.121 We can say this is at eye level as well 217 00:15:29.200 --> 00:15:30.719 More diverse than you think right? 218 00:15:30.719 --> 00:15:33.679 The concept of eye level can be applied to action scenes as well 219 00:15:33.679 --> 00:15:35.400 Allowing for some degree of angle variation 220 00:15:35.400 --> 00:15:37.679 Do you want an example? 221 00:15:37.679 --> 00:15:39.460 Let's assume there's an action scene 222 00:15:48.599 --> 00:15:51.960 Typically, you might place the frames like this, but 223 00:15:51.960 --> 00:16:00.520 If you rotate the image and arrange the frames like this 224 00:16:00.520 --> 00:16:02.320 Even though they're drawn at the same eye level 225 00:16:02.320 --> 00:16:05.320 It adds a bit more dynamism to the action 226 00:16:05.320 --> 00:16:07.200 It adds much more dynamism to the scene 227 00:16:07.200 --> 00:16:09.520 Like so, just adjusting the angles like this can provide 228 00:16:09.520 --> 00:16:12.520 A variety of feelings even within the same eye level perspective 229 00:16:12.520 --> 00:16:14.239 It's surprisingly versatile 230 00:16:14.239 --> 00:16:16.200 As it closely mimics what one would see with their own eyes 231 00:16:16.200 --> 00:16:18.640 Providing comfort while reading 232 00:16:18.640 --> 00:16:20.080 If we assume there are 100 frames 233 00:16:20.080 --> 00:16:22.719 Filling at least half of them with eye level perspectives 234 00:16:22.719 --> 00:16:24.440 Wouldn't pose any issues 235 00:16:24.440 --> 00:16:26.880 Along with the eye level shots 236 00:16:26.880 --> 00:16:28.880 High angle, looking from the top 237 00:16:28.880 --> 00:16:31.320 Or low angle, looking up from the bottom 238 00:16:31.320 --> 00:16:34.520 Extreme close ups from high and low, etc. 239 00:16:34.520 --> 00:16:36.039 Add these extreme shots 240 00:16:36.039 --> 00:16:37.919 Mixing in such shots with eye level perspectives allows 241 00:16:37.919 --> 00:16:39.840 For a diverse and engaging direction 242 00:16:39.840 --> 00:16:42.159 You've learned about angles in previous lessons 243 00:16:42.159 --> 00:16:44.840 Shall we briefly review before moving on? 244 00:16:44.840 --> 00:16:47.159 Various angles 245 00:16:47.159 --> 00:16:50.102 Let's start by examining the functions of each angle in detail 246 00:16:53.280 --> 00:16:54.120 High angle 247 00:16:59.239 --> 00:17:02.039 A high angle is a shot taken from a high vantage point 248 00:17:02.039 --> 00:17:05.839 It provides a direct view of the protagonist's environment 249 00:17:05.839 --> 00:17:07.800 situation, and spatial relationships 250 00:17:07.800 --> 00:17:10.319 It can convey who is where and what the surroundings are 251 00:17:10.319 --> 00:17:11.880 Providing spatial information 252 00:17:11.880 --> 00:17:15.119 Emotionally, it can evoke feelings of vulnerability, oppression, 253 00:17:15.119 --> 00:17:17.640 Or melancholy, depending on the situation 254 00:17:17.640 --> 00:17:20.880 Especially when there's a change in character position or when a new background appears, 255 00:17:20.880 --> 00:17:22.880 It's often utilized at such moments 256 00:17:22.880 --> 00:17:24.204 Next is low angle 257 00:17:32.640 --> 00:17:35.160 A low angle is a shot taken from below 258 00:17:35.160 --> 00:17:36.959 It's effective for conveying grandeur, intimidation, 259 00:17:36.959 --> 00:17:39.680 Or portraying the entrance of a character 260 00:17:39.680 --> 00:17:43.000 It's also commonly used to evoke a sense of being overwhelmed emotionally 261 00:17:43.000 --> 00:17:45.000 Or when wanting to convey a majestic feeling 262 00:17:45.000 --> 00:17:47.640 It's used when you want to show tension 263 00:17:47.640 --> 00:17:50.319 Or power dynamics between subjects 264 00:17:50.319 --> 00:17:52.277 Next is the extreme close-up 265 00:17:59.119 --> 00:18:01.800 "Extreme" literally means extreme 266 00:18:01.800 --> 00:18:03.581 But in Webtoons 267 00:18:03.581 --> 00:18:06.680 It's commonly used when depicting a close up shot 268 00:18:06.680 --> 00:18:09.680 It's often used when you want to depict the intricacies of things 269 00:18:09.680 --> 00:18:12.880 Like the eye, an object, or tiny specks of dust 270 00:18:12.880 --> 00:18:16.239 Just knowing this much makes it quite easy to express frames 271 00:18:16.239 --> 00:18:18.400 Let's brainstorm a scene 272 00:18:18.400 --> 00:18:19.880 By combining these various angles 273 00:19:29.658 --> 00:19:32.280 Alright, Are you getting the hang of it? 274 00:19:32.280 --> 00:19:35.439 Two people sitting in a cafe and having a conversation 275 00:19:35.439 --> 00:19:37.079 The conversation scene continues 276 00:19:37.079 --> 00:19:39.880 And suddenly, an alien appears out of nowhere 277 00:19:39.880 --> 00:19:41.238 Let's look at the first frame to start with 278 00:19:43.971 --> 00:19:48.880 At first, the background is being described with a high angle 279 00:19:48.880 --> 00:19:52.239 Showing the spatial relationship between the characters 280 00:19:52.239 --> 00:19:56.640 Then, the conversation scene progresses comfortably at eye level 281 00:19:56.640 --> 00:20:00.040 And as the alien appears 282 00:20:00.040 --> 00:20:03.280 A low angle is used to add tension 283 00:20:03.280 --> 00:20:05.280 With just a few types of angles learned 284 00:20:05.280 --> 00:20:07.680 You're already able to create diverse frames 285 00:20:07.680 --> 00:20:09.560 But you have to remember 286 00:20:09.560 --> 00:20:11.680 Except for a few purposeful frames 287 00:20:11.680 --> 00:20:13.719 Frames about ordinary and everyday life 288 00:20:13.719 --> 00:20:15.319 Frames like these 289 00:20:15.319 --> 00:20:17.520 These kinds of frames are often composed at eye level 290 00:20:17.520 --> 00:20:19.439 To provide comfort 291 00:20:19.439 --> 00:20:22.319 Now you have the knowledge required to be able to devise diverse frames 292 00:20:22.319 --> 00:20:25.479 Now, let's briefly touch upon one cautionary note before moving on 293 00:20:25.479 --> 00:20:28.079 frames shouldn't intersect with characters' joints 294 00:20:28.079 --> 00:20:31.107 Or be too close to speech bubbles, frame borders, etc 295 00:20:34.691 --> 00:20:35.507 For example 296 00:20:39.260 --> 00:20:40.468 Avoid drawing frames like this 297 00:20:45.300 --> 00:20:50.719 Or placing speech bubbles like that 298 00:20:50.719 --> 00:20:55.760 If the frame intersects with joints, it gives a sense of elongation 299 00:20:55.760 --> 00:20:57.640 If you take a look at this image 300 00:20:57.640 --> 00:21:00.560 How longer neck do you think there is below? 301 00:21:00.560 --> 00:21:03.920 Doesn't it look too long or too short? 302 00:21:03.920 --> 00:21:05.643 If we were to draw legs 303 00:21:12.861 --> 00:21:15.079 If we were to cut it off like this 304 00:21:15.079 --> 00:21:17.376 It looks like the knees go on forever 305 00:21:21.079 --> 00:21:23.560 The character's proportions end up looking strange 306 00:21:23.560 --> 00:21:26.000 So it's best to avoid cutting the frame at points unrelated to joints 307 00:21:26.000 --> 00:21:29.359 At least not below the neck 308 00:21:29.359 --> 00:21:32.520 Of course, it could be used intentionally for dramatic effect 309 00:21:32.520 --> 00:21:34.800 Never say never 310 00:21:34.800 --> 00:21:38.479 Also, be careful not to let speech bubbles and frame borders 311 00:21:38.479 --> 00:21:42.160 Or speech bubbles and pen lines, stick together 312 00:21:42.160 --> 00:21:45.839 In webtoons, speech bubbles are typically placed outside of the frames 313 00:21:45.839 --> 00:21:48.479 Unless they're specifically placed within 314 00:21:48.479 --> 00:21:50.880 When lines overlap, it can diminish 315 00:21:50.880 --> 00:21:53.479 The sense of distance and depth blending the two layers 316 00:21:53.479 --> 00:21:56.400 And as they interfere with each other, it can disrupt the reading experience 317 00:21:56.400 --> 00:22:00.711 Just make sure they're slightly separated or positioned to overlap completely 318 00:22:03.691 --> 00:22:05.520 Like this 319 00:22:05.520 --> 00:22:09.920 Then, how should we continue the flow from this frame? 320 00:22:09.920 --> 00:22:12.800 As mentioned earlier, since directing style of a Webtoon is all about what's immediately visible 321 00:22:12.800 --> 00:22:16.599 So, as I mentioned, it's typically centered around a maximum of 3 frames 322 00:22:16.599 --> 00:22:19.319 So, the frame comes before those frames 323 00:22:19.319 --> 00:22:23.491 Naturally exchanges information with the frame that follow 324 00:22:23.491 --> 00:22:24.880 Let's see an example here 325 00:23:13.468 --> 00:23:15.560 This frame has lots of characters in it 326 00:23:15.560 --> 00:23:17.851 Who do you think the main character is? 327 00:23:26.870 --> 00:23:35.959 A in the middle? B? or C? 328 00:23:35.959 --> 00:23:39.000 But what if a frame like this comes next? 329 00:24:13.207 --> 00:24:15.071 Or a frame like this? 330 00:24:23.210 --> 00:24:23.787 Or 331 00:24:37.094 --> 00:24:39.047 Like this, what do you think? 332 00:24:41.621 --> 00:24:42.339 What comes to your mind? 333 00:24:47.230 --> 00:24:49.239 Depending on what comes next in the next frame 334 00:24:49.239 --> 00:24:52.239 The meaning of this first frame could completely change 335 00:24:52.239 --> 00:24:56.040 This is the alpha and omega of what I consider directing 336 00:24:56.040 --> 00:24:58.079 Of what things is this frame composed of may be crucial 337 00:24:58.079 --> 00:25:03.119 Of course, it's important, but what context comes before and after is truly crucial 338 00:25:03.119 --> 00:25:04.599 As you've learned from above 339 00:25:04.599 --> 00:25:08.560 Focusing on the role of each frame is also important 340 00:25:08.560 --> 00:25:12.160 However, the most important thing is the overall flow and context 341 00:25:12.160 --> 00:25:15.160 That's why effectively transferring the script into visuals 342 00:25:15.160 --> 00:25:16.885 Can greatly aid in effective direction 343 00:25:18.002 --> 00:25:22.369 Dynamic and static directing 344 00:25:23.439 --> 00:25:26.839 Ultimately, it means that a seamlessly connected flow is crucial 345 00:25:26.839 --> 00:25:31.920 At this point, you can first discover the commonalities between dynamic and static directing 346 00:25:31.920 --> 00:25:37.160 More important than categorizing a frame as dynamic or static is ensuring it flows naturally 347 00:25:37.160 --> 00:25:41.400 Dynamic or static directing is just a seasoning that adds a bit of flavor to the dish 348 00:25:41.400 --> 00:25:47.280 Both dynamic and static directing aim to add a bit of variation to natural directing 349 00:25:47.280 --> 00:25:50.400 In order to more efficiently convey what the author wants to express 350 00:25:50.400 --> 00:25:55.000 In an action comic, you can't publish 100 episodes all featuring ultimate skills 351 00:25:55.000 --> 00:25:59.000 Just like in a calm comic, you can't draw bust shots for a lifetime 352 00:25:59.000 --> 00:26:02.239 You should construct it to naturally follow the flow 353 00:26:02.239 --> 00:26:06.359 But allow for directing that conveys the desired feeling, especially in pivotal moments 354 00:26:06.359 --> 00:26:09.520 How do you capture the feeling of that one moment 355 00:26:09.520 --> 00:26:12.319 Let's talk about the differences between dynamic and static directing 356 00:26:12.319 --> 00:26:17.560 And how to effectively convey their respective feelings 357 00:26:17.560 --> 00:26:19.680 Conveying emotions through animation 358 00:26:19.680 --> 00:26:22.280 Lines itself possesses dynamism 359 00:26:22.280 --> 00:26:27.479 Direction, distance, and in drawings, they also handle the separation of space and space 360 00:26:27.479 --> 00:26:31.560 This is particularly prominent in black and white comics that rely heavily on lines and shading 361 00:26:31.560 --> 00:26:32.760 Let's come back to the screen 362 00:26:42.201 --> 00:26:44.270 This is called hatching 363 00:26:44.270 --> 00:26:49.270 Hatching refers to the technique where lines overlap or are drawn in short, interrupted strokes 364 00:26:49.270 --> 00:26:52.270 Using hatching increases the visual weight of the lines 365 00:26:52.270 --> 00:26:55.706 And imbues lines with a sense of direction and dynamism 366 00:27:01.953 --> 00:27:06.706 If you want to minimize this effect, use light, orderly, and consistent lines 367 00:27:06.706 --> 00:27:09.894 To maximize this effect, give the lines a lot of character and emphasis 368 00:27:09.894 --> 00:27:10.646 Like so 369 00:27:13.062 --> 00:27:15.112 Let's draw apples 370 00:27:19.270 --> 00:27:21.389 The first one looks like this 371 00:27:21.389 --> 00:27:22.468 The second one 372 00:27:28.720 --> 00:27:30.928 looks like this 373 00:27:30.928 --> 00:27:34.295 Which one give a sense of dynamism more? 374 00:27:34.295 --> 00:27:37.488 However, just because hatching gives sense of dynamism 375 00:27:37.488 --> 00:27:39.904 It doesn't mean we can draw lines arbitrarily 376 00:27:39.904 --> 00:27:43.527 Having your hand wander aimlessly due to failing to capture the form well is a separate issue 377 00:27:43.527 --> 00:27:46.770 It's more about enhancing the feeling with lines under the assumption 378 00:27:46.770 --> 00:27:49.225 That you already know the form 379 00:27:49.225 --> 00:27:51.582 There's an old saying that describes romance comics as having long rhythms 380 00:27:51.582 --> 00:27:54.770 While action comics have short, powerful rhythms 381 00:27:54.770 --> 00:27:56.473 It's not just a metaphor but rather literal 382 00:27:56.473 --> 00:27:59.948 To draw precise lines, one needs long and steady breathing 383 00:27:59.948 --> 00:28:02.889 While drawing lines quickly requires forceful breathing 384 00:28:02.889 --> 00:28:04.547 When applying this to lines 385 00:28:04.547 --> 00:28:09.037 You can understand which lines give a static or dynamic feeling 386 00:28:09.037 --> 00:28:11.800 Long, drawn out lines give a static feeling 387 00:28:11.800 --> 00:28:14.879 Quick and forceful lines convey a dynamic feeling 388 00:28:14.879 --> 00:28:18.542 Similarly, within the realm of lines, there's also the factor of pressure 389 00:28:18.542 --> 00:28:22.067 Pressure refers to how strong or light the force is when drawing a line 390 00:28:22.067 --> 00:28:23.988 It refers to the intensity of the force applied while drawing a line 391 00:28:23.988 --> 00:28:26.513 Pressure determines the rhythm and intensity of the line 392 00:28:26.513 --> 00:28:27.641 Time for examples 393 00:28:41.483 --> 00:28:45.681 Minimizing pressure and drawing uniform lines gives a comfortable and familiar feeling 394 00:28:45.681 --> 00:28:49.612 While applying strong pressure creates a noisy and emphatic sensation 395 00:28:49.612 --> 00:28:51.681 To draw dynamic pictures, apply strong pressure 396 00:28:51.681 --> 00:28:55.374 While for static images, draw with gentle and uniform pressure 397 00:28:55.374 --> 00:28:57.404 The thickness of the lines isn't hugely important 398 00:28:57.404 --> 00:28:59.473 Even thin lines can have pressure 399 00:28:59.473 --> 00:29:02.770 And thick lines can still convey a static feeling 400 00:29:02.770 --> 00:29:07.414 Action lines or motion lines are lines that represent movement 401 00:29:07.414 --> 00:29:11.869 Primarily used to depict dynamic motion in terms of form and external aspects 402 00:29:11.869 --> 00:29:12.829 Like this 403 00:29:27.428 --> 00:29:31.686 Action lines primarily indicate the presence of movement and its direction 404 00:29:31.686 --> 00:29:34.349 Comics are fundamentally a static medium right? 405 00:29:34.349 --> 00:29:36.409 That's why sometimes it's hard to tell 406 00:29:36.409 --> 00:29:39.438 How something moved just by looking at a single pose 407 00:29:39.438 --> 00:29:43.359 Like so, adding action lines when only a portion of the movement is drawn 408 00:29:43.359 --> 00:29:46.666 We can use this to help indicate the path of the action 409 00:29:46.666 --> 00:29:49.923 This one looks like walking, this one seems to be walking a bit faster 410 00:29:49.923 --> 00:29:52.300 And this one appears to be leaping 411 00:29:52.300 --> 00:29:56.201 Depending on how you draw the action lines, even for the same pose, 412 00:29:56.201 --> 00:29:58.607 We can give slightly different impressions 413 00:29:58.607 --> 00:30:01.112 In the examples, one looks like walking 414 00:30:01.112 --> 00:30:02.914 Another seems like throwing something, 415 00:30:02.914 --> 00:30:05.755 And another appears to have bounced off something 416 00:30:05.755 --> 00:30:07.775 Conversely, if you draw a pose indicating movement 417 00:30:07.775 --> 00:30:09.696 But if you minimize the action lines 418 00:30:09.696 --> 00:30:11.745 It creates a sense of stillness in the image 419 00:30:11.745 --> 00:30:13.379 Let me remove some of the existing action lines 420 00:30:17.250 --> 00:30:19.270 How does it look? 421 00:30:19.270 --> 00:30:23.369 So, to convey a dynamic feeling, it's best to draw plenty of action lines actively, 422 00:30:23.369 --> 00:30:26.963 While for a static feeling, it's best to draw as few as possible. 423 00:30:26.963 --> 00:30:28.498 Color scheme 424 00:30:28.498 --> 00:30:32.032 Colors also help convey dynamic or static feelings 425 00:30:32.032 --> 00:30:33.577 Even in a place without people 426 00:30:33.577 --> 00:30:36.963 If it's a neon-lit street at night, it can give a flashy feeling 427 00:30:36.963 --> 00:30:39.785 and likewise, if it's an amusement park, it can also give a lively vibe 428 00:30:39.785 --> 00:30:41.369 Imagine a bustling crowd 429 00:30:41.369 --> 00:30:44.102 In a background of gray space with no color 430 00:30:44.102 --> 00:30:47.815 It would definitely add a sense of stillness 431 00:30:47.815 --> 00:30:49.399 Alright, let's say we have the same frame 432 00:31:12.577 --> 00:31:13.656 But one version is depicted like this 433 00:31:22.626 --> 00:31:28.042 And the other is depicted like this 434 00:31:28.042 --> 00:31:30.597 Which one feels more dynamic to you? 435 00:31:30.602 --> 00:31:33.612 The high saturation and diverse use of colors like this 436 00:31:33.612 --> 00:31:36.008 Enhance the dynamic feeling even further 437 00:31:36.008 --> 00:31:37.919 On the other hand, for static directing, 438 00:31:37.919 --> 00:31:40.810 You can lower the saturation or unify similar colors 439 00:31:40.810 --> 00:31:44.958 Of course, how this frame is directed can also have a significant impact 440 00:31:44.958 --> 00:31:46.998 In a work with overall diverse color schemes 441 00:31:46.998 --> 00:31:49.770 It's possible to convey a static feeling even with a variety of colors 442 00:31:49.770 --> 00:31:51.800 In black and white comics, you can create 443 00:31:51.800 --> 00:31:53.948 A dynamic feeling using just ink and lines 444 00:31:53.948 --> 00:31:54.958 Object 445 00:32:02.503 --> 00:32:04.612 The more elements packed into a frame, 446 00:32:04.612 --> 00:32:06.770 The more chaotic and noisy it feels 447 00:32:06.770 --> 00:32:09.156 Let's say we have the same frame 448 00:32:09.156 --> 00:32:12.671 Here, in one case, there's nothing but a person standing 449 00:32:20.156 --> 00:32:23.315 while in the other, there are various objects 450 00:32:32.285 --> 00:32:35.324 Which one do you think gives a more active and dynamic feeling? 451 00:32:35.324 --> 00:32:38.879 On the contrary, an empty frame gives a quiet and empty feeling 452 00:32:38.879 --> 00:32:42.770 This sense of being filled encompasses all elements of comics, as discussed earlier 453 00:32:42.770 --> 00:32:47.770 Including lines, ink, color, and more, not just characters or objects 454 00:32:47.770 --> 00:32:50.770 The more there is inside a frame, the more complex it becomes 455 00:32:50.770 --> 00:32:52.315 You can think of it this way 456 00:32:52.315 --> 00:32:55.414 However, filling it up excessively doesn't always guarantee success 457 00:32:55.414 --> 00:32:58.691 Having numerous objects but none of them moving simply makes it 458 00:32:58.691 --> 00:33:01.186 Flashy and complex, without conveying a dynamic feeling 459 00:33:01.186 --> 00:33:03.621 That's because it doesn't convey a dynamic feeling 460 00:33:03.621 --> 00:33:08.354 On the other hand, when there are too many objects, it can also make it difficult to include elements 461 00:33:08.354 --> 00:33:10.117 Like action lines that contribute to a dynamic feeling 462 00:33:10.117 --> 00:33:13.206 So, in action comics, it's often better to empty the frame 463 00:33:13.206 --> 00:33:16.993 And add elements like action lines to enrich it and convey a dynamic feeling 464 00:33:16.993 --> 00:33:19.845 Setting the mood through framing 465 00:33:19.845 --> 00:33:23.324 I previously explained about framing and angles in frame composition 466 00:33:23.324 --> 00:33:25.364 Just as different angles serve various purposes, 467 00:33:25.364 --> 00:33:29.572 Framing is also a key element in determining dynamic or static directing 468 00:33:29.572 --> 00:33:31.542 I mentioned that a high angle conveys a descriptive feeling, 469 00:33:31.542 --> 00:33:35.117 While a low angle gives a sense of overwhelm 470 00:33:35.117 --> 00:33:37.542 In dynamic directing, such as a battle scene, 471 00:33:37.542 --> 00:33:39.631 A high angle is useful 472 00:33:39.631 --> 00:33:44.305 When showing the extent of the battlefield and the impact it has, 473 00:33:44.305 --> 00:33:48.265 Or demonstrating how impressive and grand the character's skills are 474 00:33:48.265 --> 00:33:50.423 A low angle can be used 475 00:33:50.423 --> 00:33:54.532 Even in static directing, while high and low angles can be used 476 00:33:54.532 --> 00:33:58.463 Using them sparingly enhances the sense of stillness even more 477 00:33:58.463 --> 00:34:00.730 High angles depict the situation the character faces 478 00:34:00.730 --> 00:34:02.919 While low angles showcase overwhelm 479 00:34:02.919 --> 00:34:04.909 Thus, overusing them in static directing 480 00:34:04.909 --> 00:34:07.459 May make the direction more chaotic than intended 481 00:34:07.459 --> 00:34:08.973 Action 482 00:34:08.973 --> 00:34:12.948 Of course, camera movement also influences the dynamic or static feeling 483 00:34:12.948 --> 00:34:16.275 Even in everyday actions, not just running, jumping, or fighting 484 00:34:16.275 --> 00:34:20.612 You can convey dynamic or static feelings 485 00:34:20.612 --> 00:34:22.592 Sure, let's just draw someone standing 486 00:35:04.077 --> 00:35:07.473 Depending on whether you feel a sense of rhythm in this pose or not 487 00:35:07.473 --> 00:35:10.542 You can perceive it as either dynamic or static 488 00:35:10.542 --> 00:35:12.552 Surely, if you draw a more intense pose 489 00:35:12.552 --> 00:35:14.414 It will convey an even more dynamic feeling 490 00:35:14.414 --> 00:35:18.800 As I mentioned earlier, filling the frame with many objects can convey a dynamic feeling 491 00:35:18.800 --> 00:35:22.542 But this can also be achieved through the actions depicted 492 00:35:22.542 --> 00:35:24.057 Please look at this aspect 493 00:35:24.057 --> 00:35:26.344 I'll draw frames of the same size here. 494 00:35:32.270 --> 00:35:35.498 If I fill these frames with the same angle but different poses, 495 00:35:52.527 --> 00:35:53.557 It would look like this 496 00:35:58.428 --> 00:36:01.290 This one is perceived as this much of a picture 497 00:36:02.770 --> 00:36:06.701 On the other hand, this one is perceived as this much of a picture 498 00:36:08.349 --> 00:36:10.824 So, if you want to create dynamic directing 499 00:36:10.824 --> 00:36:15.527 It's better to draw larger actions and fill more of the frame 500 00:36:15.527 --> 00:36:17.349 Context 501 00:36:17.349 --> 00:36:20.765 Context can also convey dynamic or static feelings 502 00:36:20.765 --> 00:36:23.409 It's a concept that encompasses all the preceding elements 503 00:36:23.409 --> 00:36:25.013 Let's assume 504 00:36:57.889 --> 00:37:01.889 That all the preceding frames give a dynamic and busy feeling 505 00:37:01.889 --> 00:37:04.047 But in the next frame 506 00:37:10.928 --> 00:37:12.404 You leave it completely empty like this 507 00:37:14.938 --> 00:37:16.849 It feels much more static compared 508 00:37:16.849 --> 00:37:19.186 To just having this frame alone 509 00:37:19.186 --> 00:37:22.008 If, conversely, you arrange several very static frames 510 00:37:22.008 --> 00:37:24.136 Before showing a complex one, the dynamic feeling of this frame 511 00:37:24.136 --> 00:37:26.869 Will be much more pronounced 512 00:37:26.869 --> 00:37:28.730 Everything I said about the importance of eye level 513 00:37:28.730 --> 00:37:30.522 Natural directing 514 00:37:30.522 --> 00:37:31.820 And flow 515 00:37:31.820 --> 00:37:35.334 Is all about this context 516 00:37:35.334 --> 00:37:37.295 The feeling conveyed by the frames 517 00:37:37.295 --> 00:37:40.047 That come afterward depends on what came before them 518 00:37:40.047 --> 00:37:42.602 In a story-driven comic, it's not about individual frames 519 00:37:42.602 --> 00:37:44.810 But about the harmony of the entire sequence 520 00:37:44.810 --> 00:37:46.641 So, when directing 521 00:37:46.641 --> 00:37:49.800 I hope you pay attention to these aspects and aim for a smooth transition 522 00:37:49.800 --> 00:37:53.770 That allows you to emphasize key points when desired 523 00:37:53.770 --> 00:37:56.265 While directing may present challenges 524 00:37:56.265 --> 00:37:59.008 With the foundation I've explained 525 00:37:59.008 --> 00:38:02.107 If you approach it patiently, you'll soon achieve good results 526 00:38:02.107 --> 00:38:04.938 The more you practice, the more you'll improve. 527 00:38:04.938 --> 00:38:06.661 That's all for today's lesson 528 00:38:06.661 --> 00:38:08.166 Thank you 529 00:38:09.954 --> 00:38:14.004 Summary significance of each frame Comics: The spread, two pages visible when opened flat Mobile device and computer: amount that fits perfectly on the screen 530 00:38:14.004 --> 00:38:18.093 Writing speech bubbles and dialogue Place the speech bubble in the center Generally, keep the thickness of the speech bubble similar to the frame borders Allow some space between the text and the edges of the speech bubble for better readability 531 00:38:18.097 --> 00:38:20.197 Placement of frames Natural directing Aim for making readers feel comfortable Various angles Eye level: Perspective that's naturally viewed at eye level 532 00:38:20.197 --> 00:38:22.247 High Angle: Shots taken from above, creating a sense of insignificance, oppression, or gloom, and often used to convey tension Low Angle: Shots taken from below, eliciting a feeling of being emotionally overwhelmed, grandeur, or dominance 533 00:38:22.247 --> 00:38:24.347 Expresses tension or disparity between subjects Extreme Close up: Used for extreme expression, tighter than a regular close up 534 00:38:24.347 --> 00:38:26.414 Points to consider Frames should not intersect joints of characters or be too close to speech bubbles, frame borders, or other elements Ensure there's adequate space between speech bubbles, frame borders, and other elements to avoid overlapping 535 00:38:26.414 --> 00:38:28.664 Summary Dynamic and static directing Conveying emotions through animation Hatching: lines overlap or are drawn in short, interrupted strokes Pressure: The term for the force applied when drawing a line, indicating its strength or weakness 536 00:38:28.664 --> 00:38:30.914 Action Line: A line used to depict movement, typically utilized to express dynamic aspects in a scene Color Saturation: High saturation and varied colors convey a dynamic feeling While low saturation and similar colors impart a static sensation 537 00:38:30.914 --> 00:38:33.164 Objects The more objects present within a frame, the more dynamic the feeling it imparts Conversely, an empty frame evokes a sense of tranquility and emptiness 538 00:38:33.164 --> 00:38:35.419 Setting the mood through framing Dynamic Direction: Utilizes high and low angles to match the scene's intensity Static Direction: Utilizes high and low angles sparingly, focusing on maintaining a sense of tranquility