Jun 2016
3 / 31
Jun 2016
Jun 2016
El_Psy_Congroo
Jun '16

So this is something I really struggle with when working in color; how to depict motion. I've experimented with blurs and speed lines, opacities etc but I can't seem to settle on something I really like and it often looks sloppy and out of place to me. Making speed lines is such a pain too TT_TT

Are there any interesting techniques you've seen or used while working in color? Like my thread on panels, feel free to post any examples of stuff you thought was cool or well done.

I really seem to like these technique threads haha.... =]


  • created

    Jun '16

  • last reply

    Jun '16
  • 30

    replies

  • 4.6k

    views

  • 1

    user

  • 30

    likes

  • 4

    links

Shanny8
Jun '16

I'm right there with you...I dont wanna overdo speedlines & blurs.

BTW- the speedlines in panels 2 & 3- how did you do those? Did you create them yourself, or do you use some sort of templates?

Greg_Dickson
Jun '16

I highly recommend checking out Zak Simmonds-Hurn's Monstrosity36 in terms of movement techniques. Not that I know how to accomplish what he does, but damn, would I ever like to be able to do something like this. Page 9 to 12 of his work has this incredible use of speed lines, so I really recommend giving it a quick look-see.

trivialtales
Jun '16

Whatever you do, don't just write an explanation of what's happening without actually showing it. I've seen comics that express actions with asterisk's like * jumps * as if it was a messenger conversation, and it makes no sense in a visual medium.

El_Psy_Congroo
Jun '16
Shanny8

I use manga studio which has nice templates and the speedlines (I'm assuming you mean the panels with the close up of the boot and the monster being shot) are from those.

In the first one I duplicated the glass shards and used a movement blur filter effect on the lower layer. Then I clipped these simple straight speedlines from my materials to the boot and the shards (including the blur) and lowered the opacity. I actually really liked the effect I got there. The round one in the second panel is another material that I probably used a blend mode like overlay or add glow.

In the very bottom I tried to make a speed line brush that creates lines perpendicular to the drawing direction and varies the size by pen pressure. Its alright but its a distinctly different style from the first panel. I think the lack of consistency is what bothers me the most haha.

zetina
Jun '16

If you pause a, say, Disney animated film while a character is emoting and moving around a lot, you'll probably land on a smear frame. They're hilarious. Also, they make the animation look fluid. What I'm getting at is that playing with the shapes can really enhance motion. For example, when a ball is thrown, you wouldn't draw it as a circle but as an oval (more like a circle if there isn't as much force in the throw, for example).

Even if the comic is in colour, it doesn't mean your lines need to be all closed and neat either. You can make some colours bleed out (motion blur but by hand, basically, haha not really). ANYWAY the messier, the more energy the image will have! tho it still has to be clear enough to understand what's happening of course. That's what I think anyway.

El_Psy_Congroo
Jun '16

I think he takes his speed lines into account when he makes his line art and he's also making lines with just his color layer as well. I've seen the former a lot in The Breaker and it seems a standard way to go but I always feel too proud of my line art to make it "messy" =/

I actually tried this just now on Legend of Korra and it was pretty fun. They made a leg this bizarre speed-liney shape for a kick frame and blurred it out too. Maybe blurs only suit animation?

Strontium
Jun '16

I use pseudo-blurs! Given that my comic is supposed to be an animation, it works!
I also use white action lines and speed lines occasionally. They're much easier to do now in MS than in SAI where I drew each line by hand.....

I can't upload an image on the iPad so here's a link to the page I wanted to post
Specifically the second page
https://tapastic.com/episode/37297511

PurpleGround
Jun '16

Wow.. That is indeed very good actions scene. I like tat style!

J.Z.Castillo
Jun '16

Use speed lines, good references are manga. The Attack on Titan series makes really good use of speed lines so go study that, it's a very good starting point on how to draw motion. I wouldn't recommend to use blur because that makes things look out of focus either giving them a sense of being really far away or really close instead of looking like they are moving.

Yeah, speed lines are a pain in the butt, but at the end of the day they look way better.

nessiefynn
Jun '16

Try not to overdo blurs or speedlines as they can just make your art look fuzzy and cluttered. Try to do gesture drawings from life, especially from moving people/animals so you can really see what movement looks like in real life.
Additionally, always use a line of action when you draw, and try to build your poses around one movement.

agentfink
Jun '16

Of course, this depends on what you are trying to convey, but I would also say that paying attention to your gutters also helps to depict action effectively.

Action doesn't need to be these sweeping motion blur movements-- don't be afraid to break up action into several panels.
The gutters are acting as time between the panels-- you can use them to great affect to emphasize action.

I don't know about the "actually showing it part"-- just don't do it!
Show it, don't say it! smile

shazzbaa
Jun '16

For me, I tend to depend really heavily on the art itself for depicting movement -- trying to find some way in the artwork to show the followthrough/the reaction to the motion --

So like, the piece of grass that's kicked up in that first panel, or all the fur on the zombie dog in the second panel flying in the opposite direction, and the way the debris flies in the "geez you're fast" or the glass shards in the last panel. The "TOUCH" panel also has some warped lineart on that sleeve to show the sudden movement!

I do use motion lines a BUNCH too, but whenever I can I try to make the artwork show that motion & followthrough even before the motion lines are added.

El_Psy_Congroo
Jun '16

@nessiefynn This was a pretty nice way to articulate something I've kind of grasped at intuitively. Definitely something I'll keep in mind.

@agentfink I've used "gutters" (is that really what they're called?) for time passing but I haven't used it for a whole scene like that. Thats a pretty elegant solution to breaking up that panel that I wish I had thought of haha. It splits up the scene both visually and over time.

@shazzbaa I really considered making speed lines minimal when I started! But I felt like my actions scenes would be too flat since I envision them to be very dynamic (if that even means anything) like LOK and TLA. Obviously they're different mediums so it would be hard to bring that feeling.

So far it seems blurs are out haha but I thought I'd show you guys what I did for a panel, to give blurs one last HURRAH! This is a super exclusive sneak peak so please tell me what you think =]

Lower opacity:

agentfink
Jun '16

Yup! Those are gutters! Sometimes just really studying comics you like, and seeing how they depict action and movement can help give better story and time sense to a comic. I just recently finished Locke & Key-- great since of movement with well chosen framing.

As for your new panels you're showing, have you considered not having them? Her Line of Action is strong enough to convey she is moving forward in the space. So unless she's super human and incredibly fast, maybe it can work without the blur.

Without knowing the context of the other panels... if this is a intense, dramatic moment, maybe have a tighter shot closer in on her?

If you really want to keep them, I prefer the lower opacity.

(also, if you want fast speedy action fiights, maybe checking out The Flash will help).

El_Psy_Congroo
Jun '16

I dunno, she feels kind of stiff without it, but perhaps I need a second opinion.

I've added some more context. Basically the character in the background took a heavy blow to the noggin and when he gets his wits again all hell is breaking lose.

I thought giving her movement lines would create more contrast with him, who's standing still. Also, I just realized I used some gutters here too haha

JessJackdaw
Jun '16

So much good advice here, but I'll have a go too! Ultimately movement is best shown with a really good pose (definitely check out what @nessiefynn is saying), and thankfully through the grace of stylization you can alter a pose to be more dynamic to the movement you want. I feel where you lack at the moment is that all your characters feel too stiff and their bodies aren't communicating the movement you want. To help with that, do a lot of gesture drawing! (I think has also been said)

A trick I like to use, is to use a character's clothing to imply movement. Comic book artists have been doing this for years... You think capes are just for looking cool? Nope! It's also so those punches and acrobatics are emphasized with the leading lines of a flowing cape! You can use anything that trails behind a character. A tail, a scarf, baggy pants, even a long coat work great to show movement. These objects always follow inertia, so the reader can infer if a cape is twisting around, perhaps the character has turned around quickly. It doesn't work for every character mind you, but it's nice to keep in mind. smile

Edit: Also! Long hair... I noticed even though your character is moving fast her hair seems glued to her head. Don't be afraid to really get crazy with how much hair moves!

El_Psy_Congroo
Jun '16

@JessJackdaw Ugh yes you're totally right, I have such a difficult time of imagining what her hair would be like blown back some times I don't bother. But now I can't unsee it haha. Thanks though.

I should also mention, the drastic improvement in my coloring is thanks to @shazzbaa and everyone in my other thread who gave really awesome advice on coloring scenes. My mind is still exploding by how much clearer things look!

agentfink
Jun '16

This.

And is the character who is standing the one who was knocked out? As far as pose and continuity, if he just came to, he should still be on the ground, or reacting to the situation...

JessJackdaw
Jun '16

If you ever hit a snag like this, it's always a good time to search for reference! Don't ever be embarassed to look at photos, because even the professionals do it. Heck if someone asked me to draw a rhino really well, the first thing I do is gather reference. Lots and lots of reference.

Found this pretty quick! Her hair might look something like this actually, or maybe even more drastic depending on how fast she's moving.