Im Like,,,,,super Convinced That Belos Is A Human. Im Not On Toh Tumblr A Lot So Idk If This Is A Popular

leo valdez:

alois is kinda a terrible person but i 💖💖💖💖

hes my fav 💖💖💖

california by chappell roan gives damian vibes. does anyone see the vision.

happy homestuck day to those who celebrate

when they love trans women so much they call them men and invalidate a lesbian's sexuality by calling them a bisexual

terf lesbians shut the fuck up and stop acting like you speak for the entire community.

ugly cunts

im pretty sure you've answered smth like this before, but i looked around for a hot second and couldn't find it. so, sorry if this is a repeat question, but how do you get dynamic comic panels? because i've been playing around with my own comic idea for a while but all i can come up with is just,,,,3x3 square panels. and i doubt that's very interesting to look at. is figuring out panels just something that comes with more dynamic posing/environments and whatnot, or is it a skill all on its own? and if so, how can i improve?

(btw i just wanna say thanks for everything you do, i've been watching osp's videos for years and i'm pretty sure yall have shaped part of my personality. so,,,thanks for that.)

Ahh, dynamic comic panels. It's definitely a skill of its own. The way I like to think about it, comic panel layouts are similar to a translation of the camera movement in film and animation. In the same way a movie wouldn't be shot entirely in shot-reverse-shot camera-A-camera-B medium shots, a comic probably won't be entirely framed in equilateral uniform panels.

Comic panels have one weakness and one strength in contrast with camera shots: the weakness is that comics are static and can't actually move the camera to follow the action, but the strength is that comics are not bound to a specific aspect ratio like cameras are. If a camera wants a close-in shot on a character's reaction, it'll by necessity have a decent chunk of empty space on either side. If a camera wants an establishing shot of something really tall or big, it'll need to pan across it rather than capturing the whole thing in one shot. In comics, in contrast, we can do a close-in shot on a character's reaction that's narrow enough that they're basically the only thing in frame, and if we want to show a really tall thing we can just put it in a really tall panel.

Of course, the baseline mechanical consideration for panel construction is that panels of different sizes can frame things differently. If you want a wide, establishing shot of a location, you probably don't want to try and squeeze that into the same kind of half-width panel you'd use for basic dialogue.

Smaller panels can put focus on smaller details, while larger panels imply a pulling-back of focus. Every panel basically implies a single beat of time passing - the size, shape, and arrangement of that panel helps indicate exactly how much time and what rhythm it carries in the story overall. In this one, three short stacked panels imply a miniature montage of "what we're doing to get ready to go into the spooky cave."

Panels used for character conversation can be relatively small, only large enough to accommodate the speech bubbles and the relevant character's expression, but that can be played with too. If a character's saying a lot at once, you might want to put all that in a wide panel rather than having to space the dialogue across panels unnecessarily.

Wide panels are also good for showing more motion, or highlighting a character's position relative to their environment. Its visual equivalent in film would be a medium-shot, but it can fill a similar role as a film wide-shot, situating a character in their environment and allowing for more close-in shots later.

Wide panels that show a character in their environment are also good for showing how other characters are reacting to that character, so I often use them to follow smaller panels of close-shot dialogue - like cutting to a medium-shot to show the characters moving after a conversation.

I personally tend to be a lot more willing to play with panel width than panel height - tall panels are usually restricted to establishing shots or narrow reaction-shot inserts. This is because tall panels really eat into how much you can fit on any given page. In my early chapters, like the sentinel fight, I used a lot of very tall panels, and that meant the fight felt a lot slower.

I don't hate how it looks, but I could've arranged it more efficiently.

More funky panel arrangements can be used to split the difference - smaller insert panels over larger backgrounds can let you sort of get the best of both worlds, producing a large panel with the impact of a splash page while also allowing you to insert more standard character reactions and dialogue.

Tall panels are good for adding depth and a sense of scale, but wide panels flow more readily with the way we naturally read comics - in general, we read horizontally, not vertically.

You also can play around with panel arrangements to imply things about the mindset or state of a character. In this one, I used the narrowing panels and the reduced skew of the border to highlight a character falling unconscious.

And in this one, I used a rare case of identically-shaped panels to indicate a character slowly waking up. Since he wasn't yet aware of what his situation was, using identically-shaped panels helped communicate that he's feeling about the same across all three panels, despite the change in status quo.

Fight scenes make things more complicated, of course. A lot more is happening, which means I usually make the panels on average somewhat bigger to avoid losing detail. I often board dialogue-heavy pages with four lines of panels, but for fight scenes I almost always use three to allow for more verticality in each individual panel. I also tend to skew the top and bottom panel borders more, and might skew the side borders to more extreme angles, because this (a) produces an unbalancing effect that makes the scene feel more hectic, and (b) can draw the eye in helpful directions to follow the movement. In this scene, the top and bottom borders are skewed to narrow as they move to the right, which, combined with the middle border also skewing down and to the right, draws the eye to naturally follow that movement - we slide down from the first panel to the second, and then across to the third panel of the taller, wider reaction shot.

In this case, I skew the panels one way on the first line during the gradual push-in from a wide shot to a close-up, and then on the second line I skew the panel border the opposite way, because the vibe of the fight has very suddenly changed. It also draws the eye up and to the right to see the character’s initial moment of realization before we cut wider for their more dramatic reaction shot.

I don’t really have this down to a science or anything. I can explain in hindsight why I did a lot of these things, but during the storyboarding process when I’m laying it out I really mostly make these decisions based on ✨vibes✨. My general suggestion for getting a feel for it is, as always, play around with it and read a fuckton of comic books.

it is my duty, as someone who ships a rarepair, to draw shitty fanart based on memes about them

based on this:

when the sources you have to use on the assignment dont support your actual opinion so u just have to lie

how are yall so up to date on batman comics ⁉️

guessing etho’s age 🤔

- smallishbeans s10 ep8 of hermitcraft