Compose two styles
Rather than blending two styles into a middle, this assigns them roles: one carries the structure, the other appears as an accent. Where the two fight, it says so before you start.
How to divide the work
- Composition
- Follow Shōjo Manga: Overlap panels and place figures breaking through the frame lines.
- Type
- Set in Shōjo Manga's manner (Let hand lettering and monologue run into the white space outside the panels.), and let Webtoon (Vertical-Scroll Comics)'s lettering (Dialogue does not have to stay inside the frame, so push it into the blank. Separating narration from speech that way pulls the narrator apart from the character.) appear only where you want the eye to catch.
- Material
- Ground in Shōjo Manga's material (Make light by layering screentone and cutting out white.); bring in exactly one thing from Webtoon (Vertical-Scroll Comics) (Assume full colour throughout and let the background colour of the gaps set the mood of an episode. Pour a repeating image such as rain or a falling body through the blanks until the edge between gap and panel dissolves.).
- Colour
- Build on #e9e6dd, #67635d, #171615 and admit one accent from #EDE6CA, #354751, #FFFFFF.
Where they fight
These two are already listed as related, so the join should come easily.
Caution
- Shōjo Manga Borrowing the eyes and the flowers ends in mere signs. The structure of the panels is what carries the emotion.
- Webtoon (Vertical-Scroll Comics) Stacking print page layouts one under another turns the blanks back into meaningless slack and disables the pacing mechanism that sits at the centre of the form.
Image prompt
An original image that takes its structure from Shōjo Manga (Style, 1950s–) and its accent from Webtoon (Vertical-Scroll Comics) (Layout, 2003–). Structural cues: Figures and panels that cross the frame; Flowers and light streaming through the background; Eyes drawn large and worked in detail; Monologue spilling into the margins. Accent cues, used sparingly: Panels line up in a single vertical column, with nowhere for the eye to move sideways; The blank between panels runs longer than the panels themselves and holds background colour, falling rain, or dialogue; A single panel roughly eight times taller than it is wide, needing several scrolls before it can be seen whole; Full colour from the outset, drawn to one fixed width matched to the screen. Composition: Overlap panels and place figures breaking through the frame lines.. Type and lettering: Let hand lettering and monologue run into the white space outside the panels.. Let one material quality come from the second style: Assume full colour throughout and let the background colour of the gaps set the mood of an episode. Pour a repeating image such as rain or a falling body through the blanks until the edge between gap and panel dissolves.. Mood: Intimacy, Exhilaration, Play. Color: build on #e9e6dd, #67635d, #171615 with a single accent drawn from #EDE6CA, #354751, #FFFFFF. Constraints: do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. Produce an original composition in the general period languages described above.
Related entries
- Shōjo Manga 1950s– / Style / Illustration Styles
A field that built its own grammar for translating psychology into space. Panels are broken open, flowers and stars scatter across the background, and the inner voice runs out into the margins. The large eyes and the overlaid panels are devices for drawing the flow of feeling rather than the flow of time.
- Webtoon (Vertical-Scroll Comics) 2003– / Layout / Reading on the Web
A comics layout that grew on Korean portals and runs down a single column. The blank space between panels stops being a mere break and becomes the material, because its length carries elapsed time or a change of scene while it also takes on background colour, falling rain, and even the dialogue lifted out of the frames. Since the reader cannot glance ahead, the act of scrolling becomes the passage of story time.
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