Those comments on the eye movement across the page and the directing of characters and camera angles show how well André understands the media, this is a very informative talk. There's a lot to learn from his work, I'll definitely check it out.
It's funny... you can instantly see someone who is influenced heavily by Otomo and especially Akira. So is not surprising he mentions it almost instantly. His work has such huge Akira overtones, those tiny background details, approach to character and solid backgrounds, as does my own, that I can see the influences instantly. Even down to seeing pages he would have referenced while working... The same goes with Frank Quitely, who is also heavily influenced by Akira (he uses a volume as a pillow while working... no joke) which is also why Andres work has that feel of Franks work too. Like the panel stacking. Akira stacks panels almost every single page. I remember seeing someone bemoan panel stacking mid page years ago, yet anyone I respect as an artists does it... Mignola and Otomo being two that spring to mind instantly. Its an amazing story telling tool in itself for pacing and many other reasons. This is not a slight against Andre, or Frank, at all... Jeez, they're much better artists than I'll ever be, and everyone is influenced by someone else, no matter how good they are. Like I say, I have Akira and a lot of Franks earlier 2000ad work (and especially his Black Heart black and white dark horse mini series) on my desk at all times. I think where my work steers away a little more is due to also being influenced by the likes of Mignola, Pearson, Johnson, Canete and Lesean so much (artists work I also have on my desk while I work) all who use more blacks (it's why I like Black Heart of Franks so much). Plus... the likes of Andre and Frank are much better artists than I am as well... so that helps :D And that panel split is done in a lot of manga... clip studio paint, the comic software, does that by default when making panels using the panel tool. You have to actually go in and change the settings if you don't want that to happen.... Great video... as always... ;)
American comics often is about "get there" more than "be there". That's why they need to be more descriptive.Subjectively speaking,I love japan's "be there" style but I have problem with too much emphasis on four act structure. Koreans do some stuff that kinda drift away from Japan's style. Besides,I'm more excited about Latin American comics. Enlighten me! if you know some good stuff from La.America
How fast is Andre? I feel like at one point he was doing multiple books a month but i haven't really seen his work as of late. I know he's working on something with Bendis but i don't know when that comes out
0:22 when I saw 6 speech bubbles in a panel. And at 0:28, long dialogue at 4th panel. This is ineffective story telling in sequential art. I observe 90% western comic has these mistakes that they don't realize it's hard to read for the reader. The artist could have split the 6 bubbles into a few montage of closeup, wide shot of location, time of day, gesture. So that reader can get who is talking, where and when. For long dialogue, the dialogue has multiple points and took 30s to read. It could have split into multiple shots to suggest passing of time. But now it seems like the artist is making a classic mistake opposite of "show dont tell". This long dialogue is explaining explaining.. gosh.. give me a break. I expect a channel like this could have higher standard in understanding the art of sequential story telling. I found this discussion highlights many frustration towards western comic www.quora.com/Why-is-manga-viewed-as-better-than-comics. Sorry to sound like an asshole, generally I'm a nice person. But the pain of reading western comic.. just drives me nut.
We've talked about the breaking of dialogue a bunch on here, and ultimately you're running against page count in western comics in ways you aren't in other forms. So there is aways a balance of how much "information" you can fit into any page, and some of that will undoubtedly be done via dialogue. I think the first instance you mentioned I have no problem with, because essentially the point of that (it was the issue cover) is the dialogue itself, the back and forth of that. There's no timing issues or pacing problems, because you're essentially running it like prose, and the pacing is dictated by the letterer. The second example has an argument for that balloon being big, but there's no way to place that in the panel without covering figures or blocking the line of sight. You could argue the writer can trim that down, which might be valid, but also there a bigger balances across the whole issue, too. I've worked on stuff that is rammed with dialogue, that has all been effective, and I've worked on stuff that has been close to silent, and has been effective. The balance is a hard one to put any hard and fast rules to regarding what fundamentally constitutes good or bad-- but it's easier to know what works for you personally and what doesn't.
Those comments on the eye movement across the page and the directing of characters and camera angles show how well André understands the media, this is a very informative talk. There's a lot to learn from his work, I'll definitely check it out.
Yep! He's great to chat to about this.
It's funny... you can instantly see someone who is influenced heavily by Otomo and especially Akira. So is not surprising he mentions it almost instantly. His work has such huge Akira overtones, those tiny background details, approach to character and solid backgrounds, as does my own, that I can see the influences instantly.
Even down to seeing pages he would have referenced while working... The same goes with Frank Quitely, who is also heavily influenced by Akira (he uses a volume as a pillow while working... no joke) which is also why Andres work has that feel of Franks work too.
Like the panel stacking. Akira stacks panels almost every single page. I remember seeing someone bemoan panel stacking mid page years ago, yet anyone I respect as an artists does it... Mignola and Otomo being two that spring to mind instantly. Its an amazing story telling tool in itself for pacing and many other reasons.
This is not a slight against Andre, or Frank, at all... Jeez, they're much better artists than I'll ever be, and everyone is influenced by someone else, no matter how good they are. Like I say, I have Akira and a lot of Franks earlier 2000ad work (and especially his Black Heart black and white dark horse mini series) on my desk at all times. I think where my work steers away a little more is due to also being influenced by the likes of Mignola, Pearson, Johnson, Canete and Lesean so much (artists work I also have on my desk while I work) all who use more blacks (it's why I like Black Heart of Franks so much).
Plus... the likes of Andre and Frank are much better artists than I am as well... so that helps :D
And that panel split is done in a lot of manga... clip studio paint, the comic software, does that by default when making panels using the panel tool. You have to actually go in and change the settings if you don't want that to happen....
Great video... as always... ;)
Has, You’re so good on your interviews!! 👌🏻
Ah, thanks. André was great to talk to.
Fantastic questions and enlightening answers. Very well edited with the images.
Thanks!
He drew a Silver Surfer one shot that was fantastic
American comics often is about "get there" more than "be there". That's why they need to be more descriptive.Subjectively speaking,I love japan's "be there" style but I have problem with too much emphasis on four act structure. Koreans do some stuff that kinda drift away from Japan's style. Besides,I'm more excited about Latin American comics. Enlighten me! if you know some good stuff from La.America
i needed this so much
There's a new episode with André out now, too!
@@StripPanelNaked hell yeah. im starting my own little comic myself and this is sure to help
When we getting a vid on Zero ?
There is one! ua-cam.com/video/XAd3ftJ6p2E/v-deo.html
How fast is Andre? I feel like at one point he was doing multiple books a month but i haven't really seen his work as of late. I know he's working on something with Bendis but i don't know when that comes out
I think he said it really depends, honestly.
Uh I might've missed that, but what comic are these pages from?
Generation Gone--!
@@StripPanelNaked thank you!
0:22 when I saw 6 speech bubbles in a panel. And at 0:28, long dialogue at 4th panel. This is ineffective story telling in sequential art. I observe 90% western comic has these mistakes that they don't realize it's hard to read for the reader. The artist could have split the 6 bubbles into a few montage of closeup, wide shot of location, time of day, gesture. So that reader can get who is talking, where and when. For long dialogue, the dialogue has multiple points and took 30s to read. It could have split into multiple shots to suggest passing of time. But now it seems like the artist is making a classic mistake opposite of "show dont tell". This long dialogue is explaining explaining.. gosh.. give me a break. I expect a channel like this could have higher standard in understanding the art of sequential story telling. I found this discussion highlights many frustration towards western comic www.quora.com/Why-is-manga-viewed-as-better-than-comics. Sorry to sound like an asshole, generally I'm a nice person. But the pain of reading western comic.. just drives me nut.
We've talked about the breaking of dialogue a bunch on here, and ultimately you're running against page count in western comics in ways you aren't in other forms. So there is aways a balance of how much "information" you can fit into any page, and some of that will undoubtedly be done via dialogue. I think the first instance you mentioned I have no problem with, because essentially the point of that (it was the issue cover) is the dialogue itself, the back and forth of that. There's no timing issues or pacing problems, because you're essentially running it like prose, and the pacing is dictated by the letterer. The second example has an argument for that balloon being big, but there's no way to place that in the panel without covering figures or blocking the line of sight. You could argue the writer can trim that down, which might be valid, but also there a bigger balances across the whole issue, too.
I've worked on stuff that is rammed with dialogue, that has all been effective, and I've worked on stuff that has been close to silent, and has been effective. The balance is a hard one to put any hard and fast rules to regarding what fundamentally constitutes good or bad-- but it's easier to know what works for you personally and what doesn't.