comic presentation

Download Comic presentation

Post on 21-May-2015




1 download

Embed Size (px)



2. Comic bookA sequence of drawings in a newspaper, magazine, etc., relating a humorous story or an adventure.A series or serialization of such narrativesequences, usually featuring a regular cast of haracters Also called strip cartoon 3. Corto Malts in SiberiaHugo Pratt, ( I War World Guerra ) 4. In galego is calledBanda deseada In castellano historieta,Tebeo or cmic In english comic strip In french bandedessine In italian fumetti In japanese manga In portugus de Brasilquadrinhos 5. Digital ,e-comic, webcomics . Since the early 1990s the growth ofthe World Wide Web has had itsimpact on comics. Not only has itproved an infinite platform for comicartists to show their work, it alsoprovided a whole new canvas forcomic artists to draw their comics on,using new computer techniques suchas 3D and animation. One of the firstto signal this development was ScottMcCloud, whose UnderstandingComics and Reinventing Comicshave become standard works. Hehas opened the eyes of many comicartists to the possibilities technologyprovides for the comics medium. 6. OL ESCOBAR MORTADELO Y FILEMN IBAEZTBO 1917BUIGAS , ESTIVIL Y VIAS Morris Lucky Luke 7. VISUAL METAPHORS KINETIC LINES ONOMATOPOEIASBALLOONS AND LABELSFRAMING TEXTPOINTS OF VIEW 8. WIDE SHOT MS (MID SHOT)CU (CLOSE UP) 9. EWS(Extreme Wide Shot)VWS(Very Wide Shot)WIDE SHOTCA (Cutaway) MS (MID SHOT)CU (CLOSE UP) WS (Wide Shot) 10. WIDE SHOT AMERICAN SHOT MS (MID SHOT) MCUCU (CLOSE UP)MEDIUM CLOSE UP 11. WIDE SHOTPRIMERPLANOMS (MID SHOT)ECUCU (CLOSE UP) EXTREMECLOSE UP CUT-IN 12. EWS(Extreme WideShot) l GRANPLANOGENERALThe view is so farfrom the subjectthat he isnt evenvisible. Oftenused as anestablishing shot. 13. VWS (VeryWide Shot) PLANOGENERALThe subject isvisible(barely), butthe emphasisis still onplacing him inhisenvironment. 14. CACUTAWAYPLANO DECONJUNTOA shot ofsomethingothers thanthe subject 15. WS (WideShot) PLANOENTERO Thesubject takesup the fullframe, or atleast as muchas comfortablypossible. 16. AMERICANSHOTPLANOAMERICANOShows somepart of thesubject in moredetail up toknees, givingan impressionof the wholesubject. 17. MSMid Shot PLANOMEDIO Showssome part ofthe subject inmore detailwhile stillgiving animpression ofthe wholesubject. 18. CUClose UpPRIMER PLANOA certain feature orpart of the subjecttakes up the wholeframe. 19. ECU (also known as XCU)Extreme Close UpPRIMERSIMO PLANOIt gets right in and shows extremedetail.You would normally need a specificreason to get this close. It is tooclose to show general reactions oremotion except in very dramaticscenes. 20. Cut-InPLANO DEDETALLEShows some(other) part of thesubject in detail. 21. Camera AnglesThe term camera angle meansslightly different things todifferent people but it alwaysrefers to the way a shot iscomposed. It means the anglebetween the camera and thesubject. We will concentrate onthe literal interpretation ofcamera angles, that is, the angleof the camera relative to thesubject. 22. HighAngleEye-LevelLow Angle 23. To be understood as representing the speech orthoughts of a given character in the comic. Thereis often a formal distinction between the balloonthat indicates thoughts and the one thatindicates words spoken aloud: the bubble thatconveys subjective thoughts is often referred toas a thought balloon. 24. LABELING 25. VISUAL METAPHORS 26. KINETIC LINES 27. Bold characteres.Such as text size and fontcharacteristics, may be reasonably andusefully described using common TEItechniques, 28. The sequence order andsonoroty of the words. A cry can be expressed by alarge size, a type of raisededges and a well definedthickness ..... 29. ONOMATOPOEIAS (CLIC, CRASH, BOOM, BANG,MIAAAU, GUAU, GRRRRR,) 30. The panels above are not uniform inshape or size. Pictorial elements,such as the gun in the fifth panel andthe purple-suited figure and motionlines in the bottom two panels, crossthe gutter separating the panels andco-exist in multiple panels. Thesegraphic moves suggest interestingspatial and temporal juxtapositionsand facilite visual transitions frompanel to panel, breaking down theclear separation of narrativemoments and instigating a flowapproaching (though still very farremoved from) the rapid frame-to-frame transitions found in film