A Quote by Chester Brown
With each of those projects I wasn't thinking about how the layout would really affect the story I was working on - it wasn't the content that was affecting the layout, it was, how I wanted to draw at that point in time.
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With each of those projects I wasnt thinking about how the layout would really affect the story I was working on - it wasnt the content that was affecting the layout, it was, how I wanted to draw at that point in time.
I changed the layout of comic books in general. When I came in, layout design wasn't really part of what you did. It was all just panels, panels, panels. So when I came in, I thought, 'Nah, let's change that,' and I designed the page.
My drawing skills probably froze around when I was 18... Now I'm more interested in the story, how the drawings, the layout can help express the stories and communicate them.
There is no recipe for good layout, what must be maintained is a feeling of change and contrast. A layout man should be simple with good photographs. He should perform acrobatics when the pictures are bad.
That's the storyboard that we have in the beginning [of Valerian]. It's an easy shot. It's just a spaceship coming in. That's the first layout. On the first layout, we see the timing of the shot and the speed. It starts to get some shadows, and we see that everything is moving in the back.
I've always liked a formal layout and informal planting," she explained. "First get the structure right, like the bones in a face, then plant it like a crowded shoe. If you have a strong layout, you can let the plants seed themselves all over the place. Haphazard, unexpected... I like to be surprised by a garden.
I was thinking about framing, and how so much of what we think about our lives and our personal histories revolves around how we frame it. The lens we see it through, or the way we tell our own stories. We mythologize ourselves. So I was thinking about Persephone's story, and how different it would be if you told it only from the perspective of Hades. Same story, but it would probably be unrecognizable. Demeter's would be about loss and devastation. Hades's would be about love.
We drank quite a lot and Tony Harrington said, "We're thinking of starting a record label at The Wire; how about you do a solo record?" I said, "Well, how am I going to do that?" I thought about it, and I'd been working on a lot of music in the years before, and I was working as a journalist, full time, really, up until that point; in whatever little spare time I had, I was working on music. So I said yes.
It's like the query letter problem that I just mentioned, magnified a hundredfold. You might be good at telling a story, but that doesn't mean you know anything about marketing. Or layout. Or editing. Or publicity. Or selling your books for foreign markets.Everyone can point to a few examples of people that have done very well for themselves self-publishing. But honestly, those folks are lucky as lottery winners.
My role as an artist helps me tremendously in breaking down each story. Pacing, layout, movement - having drawn a few thousand pages, I understand the language of comic books very well.
The ideal set-up would be the story man, the director, and the layout man, as well as musician, operating as a sort of story unit. They all should be keenly interested in the picture. No one in person should donate to an extent where he would keep the others from entering into the production and freely expressing themselves.
Perfection of planned layout is achieved only by institutions on the point of collapse.
The heart of the problem is not so much how we see objects in depth, as how we see the constant layout of the world around us. Space, as such, empty space, is not visible, but surfaces are.
You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
How do you do original work when culture is telling you which font face to use, which layout.
After years of practice, I can walk into a bookstore and understand its layout in a few seconds. I can glance at the spine of a book and make a good guess at its content from a number of signs.
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