Comic/Manga Panneling

[Anonymous No.4050698]

post some awesome examples of panel to panel pacing in comic books/manga
Art's quality is irrelevant

[Anonymous No.4050702]

>>4050698

[Anonymous No.4050730]

>>4050702
what is this comic?

[Anonymous No.4050745]

>>4050730
we3 by Grant Morrison and Frank Quietly

[Anonymous No.4052518]

Anyone has that page from Peter cannon, Thunderbolt where a guy uses a blank panel as a shield?

[Anonymous No.4052555]

>>4050698
There was a comic about a creature/dr something that did a lot of meta stuff with the panels and wonders about his 2d existance figthing against a 3d enemy

[Anonymous No.4052557]

>>4050698
why is this good exactly? a 3 point perspective shot would have worked a ton better
you get no sense of depth like this

[Anonymous No.4052559]

>>4050698
why is this considered a good example of panelling?

i kept finding myself looking up and down, and up and down again and it just felt exhausting. the panels itself also felt claustrophobic. i think it would've been better if it was a single scroll or on separate pages where it has more space

[Anonymous No.4052667]

>>4050745
does anybody know how did FQ or the colorist converted the mechanical pencil lines into inks for coloring?

[Anonymous No.4052683]

>>4052557
>>4050745
>>4050702
>>4050698
None of these are good examples of panelling. It’s just showoffy artsy fartsy nonsense. Zero fundamentals whatsoever.

To answer the OP question, Akira Toriyama.

Dragonball should be required study for anyone wanting to make comics or manga. Especially comics since westerners are notoriously bad at that shit.

[Anonymous No.4052693]

>>4052683
you didn't even post anything exceptional from Toriyama you world-class retard

[Anonymous No.4052703]

>>4052693
If you can’t see why that page is great, you should give up on making comics right now. You’re not cut out for it.

Comics/Manga aren’t about making pretty pictures that are stiff and lifeless, making artsy paneling that’s difficult to follow. It’s about making characters MOVE in ways that are seamless and easy to read from one panel to the next. It’s about guiding your reader’s eye through the action for a clean and enjoyable experience.

If you can’t grasp this basic concept, any comic you make will be shit, end of story.

[Anonymous No.4052722]

>>4052683
>>4052703
My man, get your head out of your ass and stop posting, this is for your own good.

[Anonymous No.4052726]

>>4052722
Yeah, you’re right. I got better things to do with my time than trying to help stubborn retards.

[Anonymous No.4052732]

>>4052703
>If you can’t grasp this basic concept, any comic you make will be shit, end of story.
P
Y
W

[Anonymous No.4052745]

>>4052726
You’re acting like an authority on comics when there’s a 99% chance that you’re /beg/ tier with dunning kruger syndrome. It’s okay to disagree but if you want to be an asshole and act superior pyw or fuck off.

[Anonymous No.4052779]

[Anonymous No.4052821]

Suehiro Maruo has perfect panel layout

[Anonymous No.4052823]

>>4052821

[Anonymous No.4052829]

Hugely recommend Itoh Sei, he manages to make "normal" or more boring scenes interesting

[Anonymous No.4052830]

rip

[Anonymous No.4053004]

[Anonymous No.4053174]

[Anonymous No.4053178]

>>4050698
"art's quality is irrelvant" lol

[Anonymous No.4053179]

>>4050702
You cant even tell whats happening or what is implied by the angled panels. Portals? Fast speed?

[Anonymous No.4053183]

[Anonymous No.4053187]

manga is very VERY generic .... The only one who surprises is those who read only manga, the narrative is very simple and basic ....

[Anonymous No.4053197]

>>4052830
Who's the artist?

[Anonymous No.4053253]

>>4052683
The thread is about
>PANEL TO PANEL PACING
not
>SICK ACTION SCENES WHERE 3 CHARACTERS AT BEST MOVE AT THE SPEED OF A LIGHTING BOLT
if anything's a artsy-fartsy show-off here then that'd be your post, retarded dunning krugger

[Anonymous No.4053277]

>>4053253
>he’s unable to see the panel to panel pacing in that page
Unironically NGMI. Not even gonna try to educate you. You have zero understanding of the fundamentals of sequential art.

I don’t even pity arrogant little shitheads like you, you don’t deserve success.

[Anonymous No.4053303]

>>4053277
>missing the point this hard
comics aren't just about showing off your gestural skills and drawing characters in cuuhrazzzy and rad action poses
comics and manga are more often than not about setting up mood and the framework for the action to take place in FIRST and the action in question SECOND
and while we're at it, your previous example isn't anything spectacular, just because a page has shitton of scribbly action lines doesn't make it more dynamic ya dbzlet

[Anonymous No.4053337]

>>4053303
Sequential art is about MOVEMENT, you utter fucking retard. Even slower emotion requires you make effective use of gesture to guide the reader’s eye through your fucking page.

The fact that you not only don’t get this, but also wanna debate me on it just goes to show how bad you are at this. Just give up, you’ll never make it kid. Especially not with that fucking attitude.

[Anonymous No.4053346]

>>4052557
isn't the background in 2nd panel a three point perspective?
I can see some buildings slightly tapering at the base

[Anonymous No.4053366]

>>4053337
>Sequential art is about MOVEMENT
yes? I don't remember trying to disprove this at any point, just that it's not as important as your dunning krugger dense noggin might think
look at >>4052779
the movement portrayed is simple with no extreme gesture on display in all of those panels, it's the backgrounds, panel sizing and the overall composition that brings it all together you dense spaz

[Anonymous No.4053473]

>>4053366
Yes, you utter moron, I never said Tonari Atelier was bad, it’s you who said Vegeta vs. Recoome was bad, despite being provided as a simple and clear example of good flow in comic/manga. Something which hadn’t been posted ITT up until this point.

YOU’RE the one being a contrarian hipster shitting on Toriyama despite being widely regarded as a master of flow in sequential art.

Moreover, there IS clear and evident movement in Tonari Atelier as well, it’s applying the exact same fundamentals Toriyama uses in Dragonball to guide the reader’s eye through the pages. Toriyama’s example is just more exaggerated cause it’s an action sequence, but that makes it easier to spot, which is exactly what you’d show beginners who don’t know shit about panelling and flow.

So pipe down kid, stop arguing, and sit the fuck down and learn something. Being a hipster doesn’t make you cool, it doesn’t make you likable. It just makes you an obnoxious piece of shit I’d like to punch straight across the jaw. You don’t know shit, so stop pretending you do.

[Anonymous No.4053536]

>another insp thread turned into retarded anime shitflinging

[Anonymous No.4053552]

>>4052829
I love Itoh Sei. I started reading that manga for the monkey girl but I fell in love with the artist. It's got that 80s manga energy, even his older stuff like Monster Collection is so fun to read.
I very rarely give weebshit a pass, he's one of my favorite comic artists.

[Anonymous No.4053556]

>>4053536
honestly, from a perfectly neutral point of view, japanese comics blow any other comic away. Especially when most of the western comics posted here are awful capeshit that the anons only perceive as good because there's batman in it

[Anonymous No.4053568]

>>4053556
>perfectly neutral point of view
>goes full weeb

[Anonymous No.4053588]

>>4052683
This but look at Alex Toth's work

[Anonymous No.4053600]

>>4053568
Man, I'm not a weeb, but you gotta hand it to 'em. The West did some interesting stuff in the past century and we were in the lead for a while, but manga has been evolving so fast and the industry is so huge and productive that at this point they got the medium down to a T.
Sure they are a bit rigid with their methods and it can get formulaic, but the formulas they use are excellent, they're tested and true. And you see excellence not only in le ebin dynamic shonen manga, but also slower comics, they got a sensibility for space and paneling that in the West is almost completely lost (most artists who make comics in the west are not comic artists).
I am as objective I can be and I'd even say that my opinion is loaded against manga because I only like a couple old styles and hate shonen, but they are fucking good at comics.
And any capeshit from the last 30 years is offensively bad. The old stuff like Buscema has value but in retrospect they were just scraping the surface of the medium, they don't hold up with what mangaka are capable of.

[Anonymous No.4053608]

>>4053600
Also I'd like to add that many of the great mangaka of the last century were humbly picking up from Moebius et al. because Moebius et al. were carrying the torch. I've seen a pro mangaka with a Tintin poster in his room. It's simply stupid to dismiss the people who are doing things the best right now because it's weeb to do so, and everyone who's interested in making comics should take a look at manga even if his sensibilities are western.

[Anonymous No.4053609]

>>4053600
Yes, it's objectively true that Japan has made achievements in visual arts, but just look at the posts you're writing. You are a definitely a weeb, or perhaps autistic.

[Anonymous No.4053622]

>>4053609
>You are a definitely a weeb, or perhaps autistic.

[Anonymous No.4053638]

maybe a bit autistic, but I really like this bit in crab with the golden claws where he skips a panel showing him hitting him

[Anonymous No.4053648]

>>4052779
holy fucking shit the eye flow on this page it's just freakin beautiful

[Anonymous No.4053707]

this entire sequence from fire punch

[Anonymous No.4054606]

asterios polyp does an amazing job at using every resource a comic has
more people should read it to learn a couple of things about compisition and using visuals to help thye narrative

[Anonymous No.4054746]

>>4052779
>>4052821
>>4053183
Only good ones.

>>4053707
Very cool, laughed.

[Anonymous No.4054818]

the three steps of enlightenment
1 - Tintin
2 - Toriyama
3 - Fred