All About Storyboarding

  • Post comments:0 Comments
  • Reading time:7 mins read

I had decided to write an article about figuring out your story before you start drawing it. How to plan ahead, what to plan for, and why planning is important for comics.

The idea for this article started when I was talking with a friend about how he loves the work of a particular comic artist but that his stories seem to be all over the place. He would love to see this artist do something tighter with his stories, more planned out. We discussed that planning isn’t as simple as saying “I’m going to plan my book out now” and then doing it. Planning must be a part of the whole process of creating your comic, not just something you do at the beginning. It’s not just about knowing what happens in your story; it’s also about knowing why your story doesn’t happen until a certain point in the story and why it ends at a certain point.

I started thinking more and more about this topic of planning. How important is it really? Why should you plan your work? What does it mean to plan? What does a plan look like? How do you plan? Should you outline or not outline? What’s wrong with outlining? Etc. Etc. Etc.

It didn’t take long before I had way

In this post, I’ll talk about planning your stories using a process we call storyboarding. If you’re not in the comics industry or making movies, you may not have heard of that term before, but the idea is pretty universal.

The basic idea behind storyboarding is simple: you figure out what your comic is going to look like before you draw it. This seems especially important when you’re starting out in comics and haven’t developed your own style yet, or if you’re working on a longer story. It’s often used with either a very rough sketch or a more detailed drawing, depending on the artist’s preference.

Storyboarding can help you plan how many pages will go into your comic, how many panels each page will have and what each panel will look like. It can also be used for more general things like where characters will stand in relation to one another and whether there are any props involved.

It doesn’t mean you have to stick with every aspect of your storyboard once you start drawing – maybe you’ll decide to change some elements of the scene once it’s drawn – but it does give you a specific place to start.

Storyboarding is an art, a skill that can be learned. A proper storyboard is your map to success in creating professional looking comics.

A storyboard for a comic is a visual representation of the story of your comic. It is an essential part of the planning process for any comic creator. It should include all panels for each page of your comic, along with accompanying text if needed. The storyboard will be used as a blueprint for drawing, lettering and coloring your comics.*

*I am not a professional artist, just an avid fan of comics and cartooning. However, I have done some research on this topic and would like to share what I have learned.

**This article contains affiliate links to products I recommend. If you purchase them through my links I will earn a small commission at no additional cost to you.

The art of storyboarding has been around for a very long time. In fact, it’s never been too far from the minds of those who tell stories in some form or another. It’s often the first thing that pops into someone’s head when they think of how they want to tell a story; at least it was for me.

There are many ways to create a storyboard. You can do them on paper, you can use different kinds of software, and even make your own in programs like Photoshop or Illustrator. Some people make their storyboards almost like comic books and others simply use images and captions to get their point across. The way you create one doesn’t matter as much as what you do with it once it exists.

One thing I like about storyboarding is that it forces you to think about every little detail in your comic before you start drawing it out. You have to create your own reference material; you have to put yourself into your comics so much that when the time comes, you don’t have to stop and ask yourself “where does this go?” or “how does this work?” Instead, everything just flows naturally from your mind onto the page.

I know if I ever want to become a better artist, creating storyboards

Storyboarding is the most important process in cartooning, and you can’t do without it. However, storyboarding has always been one of the most difficult parts of the cartooning process for me. There are many other cartoonists who also struggle with storyboarding – it’s part of what makes us a breed apart from our comic-reading brethren who don’t draw comics!

I’ve tried various methods of storyboarding in the past, but all of them had some drawbacks.

So I was extremely excited when I discovered John Campbell’s method recently and started using it right away. It took a while to get used to it, but now I love it! I hope you do too!

Storyboarding is a vital part of the comic creation process. Although I am fairly new to comics, I have been a storyboard artist for years, and I can say that the two processes share many similarities. In fact, many of the same principles and techniques can be applied to both fields.

What’s so important about storytelling?

Storytelling is one of the most important aspects of any visual medium. Whether it’s a comic book series, an animated movie or a video game, the story is what keeps your audience engaged. And storyboarding is the first step in bringing your story to life before you have even begun drawing.

As an artist-for-hire, I often find myself working with people who have great ideas but lack the drawing skills necessary to bring their work to fruition. They know what they want to create, but they aren’t sure how to make it happen! This is where storyboarding comes in handy.

You’re a creative, and you’ve got an idea for a comic. You want to draw that comic, so you start by sitting down to draw it. You get the first panel done, and then the second panel. But before you know it, the story has changed completely, and now that first panel is no longer in the comic. Or maybe you don’t even get that far because halfway through drawing the first panel you realize it’s not going to work.

You’ve just hit a brick wall.

There are people who seem like they can just “wing it” and make comics without planning them out in advance—they go from idea to page to page without ever stopping to think about what they’re doing or how to do it better. This can make their work seem exciting and spontaneous, but there’s a lot more going on under the surface than might be obvious at first glance.

A comic is a complex thing: it needs more than just art to function at all. It needs dialogue; it needs action; it needs character; it needs meaning; and most of all, it needs continuity . All of these things have to fit together seamlessly for a story or for a series of stories to work at all—and since stories are inherently fluid things with

Leave a Reply