WEBTOON Basics Dynamic directing and static directing
GCC Academy
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
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
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
Nice to meet you, I am Webtoons artist Kang Ji Young
I am the author of Kingsmaker published by Kakaopage and Lezhin Comics
I am also the author of OH, MY GOD! published by NAVER
In this lecture, let's explore dynamic directing and static directing
Let's start with what directing is and then dig into the specific techniques for different types of frame directing
The significance of frames
First, we need to understand what a 'frame' signifies
Please Look at the screen
Can you tell what each shape represents?
Each shape represent a paper comic book, a mobile screen, and a computer screen, respectively
This particularly showcases the viewing range on commonly used screens when reading Webtoons
Which comes in at a glance
For comic books, it's the spread visible when you open it flat, showing both pages
On average, it typically contains between 10 to 15 frames
Mobile and computer screens show an amount that fits perfectly on the screen
Usually as many as one to three frames
Let me draw in frames just to show
Are you familiar with these shapes?
These shapes represent the unit of comics and Webtoons that can be seen at a glance
Don't you read Webtoons or comic books very quickly?
And Rarely find yourselves going back to reread frames you've already read right?
So, once I've grasped the content or moved on, the previous frames tend to fade from memory
On mobile, frames might pass by like this
While on PC, they might pass like this
Readers tend to focus on the frames that catch their eye
Within this range
So, you can think of the visible area as the unit of directing
The amount depicted here represents the quantity visible at a glance when viewing Webtoons on each respective medium
What's visible at a glance doesn't necessarily act all at once
Some parts may be seen first while others are seen later, indicating there's a sequence
Let's discuss each medium in detail
For page format comics, it's typically from the top left to the bottom right
In Japanese manga, it's from the top right to the bottom left
On mobile and computer screens, it's centered
There's a difference in the direction when reading from top to bottom
That's why page comics often place the most important directing
In the top left and bottom right corners of the page
Alternatively, they avoid placing crucial directing
Outside of these diagonals to aid the flow of gaze
You've probably seen many instances where there's a big frame
When you first open or flip to a new page
That's because, in terms of flow, that frame is crucial
Additionally, important speech bubbles or dialogue are not placed on the outer edges
Originally, it's largely due to printing technology
Printing outside of this area can lead to printing errors or damage
In the case of webtoons, speech bubbles and important directing are typically kept
Within the center to avoid disrupting the fixed reading flow
Especially to ensure that scrolling fingers don't cover them
When writing a script, you need to include speech bubbles and dialogue
Below, I'll express it in script format
In many cases, you'll need to write this in the storyboard
Just by ensuring they don't stray from the center
And don't disrupt the natural flow
The quality of the manuscript improves significantly
How can we place them
in the center without obstructing the artwork?
In that case, you can extend the speech bubble outside the frame
It's best to position the speech bubble in the center to prevent it from being cut off
For example, let me show you
Just position it in the center like this to avoid this happening
Many platforms have white backgrounds
So, if you make the speech bubble extend outside the screen like this
It will appear like this when viewed
Then it might give the impression that the speech bubble is being cut off midway
So, it's better to bring it inward and position it in the center as much as possible
Also, it's best to position the script format
Within the speech bubble in the center like this
Surely, by deliberately deviating from the center
We can create awkwardness or tension
However, not every frame needs to be tense
Since we're talking about speech bubbles, let's dig into it a bit more
Have you ever heard thsee jokes before?
Don't use Times New Roman!
I'm speaking in Arial right now!
It means that the impression given by the font is important
To be honest, it's all up to the author regardless of the font
As long as it's consistent
The most important thing in speech bubbles is consistency
It's about having a pattern that become an eyesore
Shall we look at some examples of speech bubbles
You might think, 'Does the quality of speech bubbles really make that much of a difference?'
However, let me show you a few extreme examples
What should the dialogue be?
Have you eaten?
No, I haven't yet
I'm so hungry
Yea?
How about we go get some tteokbokki then?
Will use these
To make different speech bubbles
What do you think? Do you ever have thoughts like, 'Who talks like this?' or 'Who says things like that
Not paying attention can lead to mistakes that are easy to make
If the speech bubbles aren't consistent, readers can instantly
Be like Oh! And pause
If this keeps happening, it's like constantly hitting the brakes in a car,
Disrupting the reading rhythm
Speech bubbles typically have a consistent thickness
Although the exact thickness varies among authors
In general, it's similar to the thickness of the frames
Frames and speech bubbles should be made familiar to the eye
So authors often stick to a consistent thickness that readers are accustomed to
If you want to use a speech bubble for shouting
It's best to maintain a similar ratio
Ensuring the size proportion is similar
If drawing is difficult,
You can still make shouting speech bubbles have a similar feel by matching their style
Whether it's vertical speech bubbles horizontal speech bubbles,
Or circular speech bubbles, as long as they're consistently repeated throughout the work
Readers will easily adapt
For example,
Shall we draw a proper speech bubble?
How about now? Do you feel a consistency?
Next, let's look at the spacing between the text and the speech bubble
It's good to leave some room for flexibility
The spacing should be relatively consistent overall
Like so
Have you ever seen a webtoon where only monologue or narration
Is written in a different font?
This is a directing technique that allows readers to understand
Without consciously realizing it, that this is different from regular dialogue
By intentionally separating them
For this purpose, it's best to keep regular dialogue consistent
With a standard setting
If you've listened this far, you'll understand
That the purpose of this lecture is natural directing
The first step in natural directing is
To considerate the viewers so they can watch
Comfortably without being bothered by anything
Next, let's explore about directing diversely
One of the most challenging aspects of
Writing a Webtoon script seems to be
Oh? Isn't this the same frame I used before?
Am I using similar frames repeatedly?
I tried to avoid repeating similar frames
By incorporating various perspectives, but it feels cluttered
These seem some of the common difficulties
It's problematic whether too monotonous or too diverse
It seems these are why people are dealing with a lot of concerns
Alright, I'll show you a few examples of simplifying frames
First
Second
Third
Okay, these are all instances where each looks simplified for different reasons
The first case is where all the frame sizes are the same
You can easily notice when frame sizes are the same
Repeating frames of the same size gives a consistent feel
You could say that four frame comics or slice of life comics maximize this feeling
Simplifying frames intentionally suits Webtoons that aim to deliver enjoyment
Through unexpected twists or short gags
However, it's not suitable for genres like drama or thriller
Where you need to induce reader immersion
Secondly
In this case, the characters are all the same size in each frame
Even if the boxes vary, if they all contain the same item
They'll eventually seem like the same gift
No matter how diverse the frames are,
If the characters are repeated in the same size, it gives a monotonous feel
In slice of life or healing Webtoons, where a tranquil atmosphere is the main focus
It's also best to avoid having characters all the same size in frames
The third, these might be the most difficult to understand
If the distance from the top of the frame to the characters' heads
If this is consistently the same in cropped frames, it gives a feeling of repetition
Even if the frame sizes and character sizes vary
Especially if you develop a habit of drawing from the head on an empty canvas
Without consciously considering it
You may end up consistently overusing similar margins
Because margins are also important elements within frames
It's essential to be mindful to avoid repetition
Having these elements well mixed and varied can give a diverse feeling
Even if the compositions are consistent
What if the compositions are diverse as well?
Then it would become even more diverse and colorful directing
However, if you overuse varied compositions
It can make the storytelling feel cluttered and chaotic
Let's move on to the next example
Like this, it feels very cluttered and chaotic
Of course, there are times when such directing style is necessary
However, it's not feasible for every frame in a 100 or 200 frame sequence to be like that
Hence, natural cuts and angles become crucial
Placement of frames
Earlier, we talked about natural directing
Natural direction means the reader should feel comfortable while reading
In this context, reading refers to relying on the eyes, or visual perception
Therefore, the closer it is to the angle seen with the eyes
The closer it gets to comfortable direction
Portraying angles that mimic what one would naturally see
Helps make it more natural
Many movies and drama genres that prioritize continuity
Often use camera angles close to the human eye level
This is referred to as eye level angle
For convenience, let's call it eye level
"Eye level" generally refers to the horizon line
Where a person's eyes naturally fall
Typically from the level of a person's eyes
When they stand straight to slightly lowered when they bend down a bit
Have you seen an image like this before?
If this viewing perspective aligns with the horizon
It can be called eye level
To achieve a comfortable direction
It's often best to arrange most frames to align with this eye level perspective
I have a few frames from my Webtoon works as examples
This is at eye level
This also is at eye level
It's tilted a bit but it still is at eye level
This is at eye level
Shall I show you some consecutive frames as well?
We can say this is at eye level as well
More diverse than you think right?
The concept of eye level can be applied to action scenes as well
Allowing for some degree of angle variation
Do you want an example?
Let's assume there's an action scene
Typically, you might place the frames like this, but
If you rotate the image and arrange the frames like this
Even though they're drawn at the same eye level
It adds a bit more dynamism to the action
It adds much more dynamism to the scene
Like so, just adjusting the angles like this can provide
A variety of feelings even within the same eye level perspective
It's surprisingly versatile
As it closely mimics what one would see with their own eyes
Providing comfort while reading
If we assume there are 100 frames
Filling at least half of them with eye level perspectives
Wouldn't pose any issues
Along with the eye level shots
High angle, looking from the top
Or low angle, looking up from the bottom
Extreme close ups from high and low, etc.
Add these extreme shots
Mixing in such shots with eye level perspectives allows
For a diverse and engaging direction
You've learned about angles in previous lessons
Shall we briefly review before moving on?
Various angles
Let's start by examining the functions of each angle in detail
High angle
A high angle is a shot taken from a high vantage point
It provides a direct view of the protagonist's environment
situation, and spatial relationships
It can convey who is where and what the surroundings are
Providing spatial information
Emotionally, it can evoke feelings of vulnerability, oppression,
Or melancholy, depending on the situation
Especially when there's a change in character position or when a new background appears,
It's often utilized at such moments
Next is low angle
A low angle is a shot taken from below
It's effective for conveying grandeur, intimidation,
Or portraying the entrance of a character
It's also commonly used to evoke a sense of being overwhelmed emotionally
Or when wanting to convey a majestic feeling
It's used when you want to show tension
Or power dynamics between subjects
Next is the extreme close-up
"Extreme" literally means extreme
But in Webtoons
It's commonly used when depicting a close up shot
It's often used when you want to depict the intricacies of things
Like the eye, an object, or tiny specks of dust
Just knowing this much makes it quite easy to express frames
Let's brainstorm a scene
By combining these various angles
Alright, Are you getting the hang of it?
Two people sitting in a cafe and having a conversation
The conversation scene continues
And suddenly, an alien appears out of nowhere
Let's look at the first frame to start with
At first, the background is being described with a high angle
Showing the spatial relationship between the characters
Then, the conversation scene progresses comfortably at eye level
And as the alien appears
A low angle is used to add tension
With just a few types of angles learned
You're already able to create diverse frames
But you have to remember
Except for a few purposeful frames
Frames about ordinary and everyday life
Frames like these
These kinds of frames are often composed at eye level
To provide comfort
Now you have the knowledge required to be able to devise diverse frames
Now, let's briefly touch upon one cautionary note before moving on
frames shouldn't intersect with characters' joints
Or be too close to speech bubbles, frame borders, etc
For example
Avoid drawing frames like this
Or placing speech bubbles like that
If the frame intersects with joints, it gives a sense of elongation
If you take a look at this image
How longer neck do you think there is below?
Doesn't it look too long or too short?
If we were to draw legs
If we were to cut it off like this
It looks like the knees go on forever
The character's proportions end up looking strange
So it's best to avoid cutting the frame at points unrelated to joints
At least not below the neck
Of course, it could be used intentionally for dramatic effect
Never say never
Also, be careful not to let speech bubbles and frame borders
Or speech bubbles and pen lines, stick together
In webtoons, speech bubbles are typically placed outside of the frames
Unless they're specifically placed within
When lines overlap, it can diminish
The sense of distance and depth blending the two layers
And as they interfere with each other, it can disrupt the reading experience
Just make sure they're slightly separated or positioned to overlap completely
Like this
Then, how should we continue the flow from this frame?
As mentioned earlier, since directing style of a Webtoon is all about what's immediately visible
So, as I mentioned, it's typically centered around a maximum of 3 frames
So, the frame comes before those frames
Naturally exchanges information with the frame that follow
Let's see an example here
This frame has lots of characters in it
Who do you think the main character is?
A in the middle? B? or C?
But what if a frame like this comes next?
Or a frame like this?
Or
Like this, what do you think?
What comes to your mind?
Depending on what comes next in the next frame
The meaning of this first frame could completely change
This is the alpha and omega of what I consider directing
Of what things is this frame composed of may be crucial
Of course, it's important, but what context comes before and after is truly crucial
As you've learned from above
Focusing on the role of each frame is also important
However, the most important thing is the overall flow and context
That's why effectively transferring the script into visuals
Can greatly aid in effective direction
Dynamic and static directing
Ultimately, it means that a seamlessly connected flow is crucial
At this point, you can first discover the commonalities between dynamic and static directing
More important than categorizing a frame as dynamic or static is ensuring it flows naturally
Dynamic or static directing is just a seasoning that adds a bit of flavor to the dish
Both dynamic and static directing aim to add a bit of variation to natural directing
In order to more efficiently convey what the author wants to express
In an action comic, you can't publish 100 episodes all featuring ultimate skills
Just like in a calm comic, you can't draw bust shots for a lifetime
You should construct it to naturally follow the flow
But allow for directing that conveys the desired feeling, especially in pivotal moments
How do you capture the feeling of that one moment
Let's talk about the differences between dynamic and static directing
And how to effectively convey their respective feelings
Conveying emotions through animation
Lines itself possesses dynamism
Direction, distance, and in drawings, they also handle the separation of space and space
This is particularly prominent in black and white comics that rely heavily on lines and shading
Let's come back to the screen
This is called hatching
Hatching refers to the technique where lines overlap or are drawn in short, interrupted strokes
Using hatching increases the visual weight of the lines
And imbues lines with a sense of direction and dynamism
If you want to minimize this effect, use light, orderly, and consistent lines
To maximize this effect, give the lines a lot of character and emphasis
Like so
Let's draw apples
The first one looks like this
The second one
looks like this
Which one give a sense of dynamism more?
However, just because hatching gives sense of dynamism
It doesn't mean we can draw lines arbitrarily
Having your hand wander aimlessly due to failing to capture the form well is a separate issue
It's more about enhancing the feeling with lines under the assumption
That you already know the form
There's an old saying that describes romance comics as having long rhythms
While action comics have short, powerful rhythms
It's not just a metaphor but rather literal
To draw precise lines, one needs long and steady breathing
While drawing lines quickly requires forceful breathing
When applying this to lines
You can understand which lines give a static or dynamic feeling
Long, drawn out lines give a static feeling
Quick and forceful lines convey a dynamic feeling
Similarly, within the realm of lines, there's also the factor of pressure
Pressure refers to how strong or light the force is when drawing a line
It refers to the intensity of the force applied while drawing a line
Pressure determines the rhythm and intensity of the line
Time for examples
Minimizing pressure and drawing uniform lines gives a comfortable and familiar feeling
While applying strong pressure creates a noisy and emphatic sensation
To draw dynamic pictures, apply strong pressure
While for static images, draw with gentle and uniform pressure
The thickness of the lines isn't hugely important
Even thin lines can have pressure
And thick lines can still convey a static feeling
Action lines or motion lines are lines that represent movement
Primarily used to depict dynamic motion in terms of form and external aspects
Like this
Action lines primarily indicate the presence of movement and its direction
Comics are fundamentally a static medium right?
That's why sometimes it's hard to tell
How something moved just by looking at a single pose
Like so, adding action lines when only a portion of the movement is drawn
We can use this to help indicate the path of the action
This one looks like walking, this one seems to be walking a bit faster
And this one appears to be leaping
Depending on how you draw the action lines, even for the same pose,
We can give slightly different impressions
In the examples, one looks like walking
Another seems like throwing something,
And another appears to have bounced off something
Conversely, if you draw a pose indicating movement
But if you minimize the action lines
It creates a sense of stillness in the image
Let me remove some of the existing action lines
How does it look?
So, to convey a dynamic feeling, it's best to draw plenty of action lines actively,
While for a static feeling, it's best to draw as few as possible.
Color scheme
Colors also help convey dynamic or static feelings
Even in a place without people
If it's a neon-lit street at night, it can give a flashy feeling
and likewise, if it's an amusement park, it can also give a lively vibe
Imagine a bustling crowd
In a background of gray space with no color
It would definitely add a sense of stillness
Alright, let's say we have the same frame
But one version is depicted like this
And the other is depicted like this
Which one feels more dynamic to you?
The high saturation and diverse use of colors like this
Enhance the dynamic feeling even further
On the other hand, for static directing,
You can lower the saturation or unify similar colors
Of course, how this frame is directed can also have a significant impact
In a work with overall diverse color schemes
It's possible to convey a static feeling even with a variety of colors
In black and white comics, you can create
A dynamic feeling using just ink and lines
Object
The more elements packed into a frame,
The more chaotic and noisy it feels
Let's say we have the same frame
Here, in one case, there's nothing but a person standing
while in the other, there are various objects
Which one do you think gives a more active and dynamic feeling?
On the contrary, an empty frame gives a quiet and empty feeling
This sense of being filled encompasses all elements of comics, as discussed earlier
Including lines, ink, color, and more, not just characters or objects
The more there is inside a frame, the more complex it becomes
You can think of it this way
However, filling it up excessively doesn't always guarantee success
Having numerous objects but none of them moving simply makes it
Flashy and complex, without conveying a dynamic feeling
That's because it doesn't convey a dynamic feeling
On the other hand, when there are too many objects, it can also make it difficult to include elements
Like action lines that contribute to a dynamic feeling
So, in action comics, it's often better to empty the frame
And add elements like action lines to enrich it and convey a dynamic feeling
Setting the mood through framing
I previously explained about framing and angles in frame composition
Just as different angles serve various purposes,
Framing is also a key element in determining dynamic or static directing
I mentioned that a high angle conveys a descriptive feeling,
While a low angle gives a sense of overwhelm
In dynamic directing, such as a battle scene,
A high angle is useful
When showing the extent of the battlefield and the impact it has,
Or demonstrating how impressive and grand the character's skills are
A low angle can be used
Even in static directing, while high and low angles can be used
Using them sparingly enhances the sense of stillness even more
High angles depict the situation the character faces
While low angles showcase overwhelm
Thus, overusing them in static directing
May make the direction more chaotic than intended
Action
Of course, camera movement also influences the dynamic or static feeling
Even in everyday actions, not just running, jumping, or fighting
You can convey dynamic or static feelings
Sure, let's just draw someone standing
Depending on whether you feel a sense of rhythm in this pose or not
You can perceive it as either dynamic or static
Surely, if you draw a more intense pose
It will convey an even more dynamic feeling
As I mentioned earlier, filling the frame with many objects can convey a dynamic feeling
But this can also be achieved through the actions depicted
Please look at this aspect
I'll draw frames of the same size here.
If I fill these frames with the same angle but different poses,
It would look like this
This one is perceived as this much of a picture
On the other hand, this one is perceived as this much of a picture
So, if you want to create dynamic directing
It's better to draw larger actions and fill more of the frame
Context
Context can also convey dynamic or static feelings
It's a concept that encompasses all the preceding elements
Let's assume
That all the preceding frames give a dynamic and busy feeling
But in the next frame
You leave it completely empty like this
It feels much more static compared
To just having this frame alone
If, conversely, you arrange several very static frames
Before showing a complex one, the dynamic feeling of this frame
Will be much more pronounced
Everything I said about the importance of eye level
Natural directing
And flow
Is all about this context
The feeling conveyed by the frames
That come afterward depends on what came before them
In a story-driven comic, it's not about individual frames
But about the harmony of the entire sequence
So, when directing
I hope you pay attention to these aspects and aim for a smooth transition
That allows you to emphasize key points when desired
While directing may present challenges
With the foundation I've explained
If you approach it patiently, you'll soon achieve good results
The more you practice, the more you'll improve.
That's all for today's lesson
Thank you
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
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
Placement of frames Natural directing Aim for making readers feel comfortable Various angles Eye level: Perspective that's naturally viewed at eye level
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
Expresses tension or disparity between subjects Extreme Close up: Used for extreme expression, tighter than a regular close up
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
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
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
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
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