![]() Corner to Corner and Horizontal do this best horizontally while Vertical Split and Aligned to Side do this best vertically. It’s also a good way to visually connect panels with a strong line. ![]() It’s important that the sword is touching the edge of the panel for maximum dynamism. These options are suitable for breaking up the battlefield shots and focusing directly on the character. Under/Over is a good chance to show a camera tilt and a character expertly dodging a swing. The other options, Diagonal and Vertical/Horizontal, are good options to show the tension just before a major blow. ![]() The V is a form of sword crossing as above, but the focus is on the tips of the blades rather than just the characters themselves. Swords at right angles offer many of the benefits of the other compositions, such as guiding the reader’s eye around the scene from character to character while also providing another fight scene compositional option that is different from other scenes. It still talks about being in battle, but rather than being in the midst of it, it can be used for preparatory battle scenes that create anticipation while also being visually appealing. Other options include the impactful High Cross and the dominating Horizontal/Diagonal.įinally, Composition Centre is a great way to utilize this compositional feature in a different way. Panel Break is suitable for this as the tips of the swords aren’t visible, and it lets the audience focus on the characters instead. It can also provide a chance for those crossing swords to get up and personal with each other and even exchange a few words. In this case, the mountain is where the heart of the battle will lie.Ĭrossed swords offer a unique compositional form for panels that’s different from other fighting scene options. This helps move the fight scene along while still keeping the focus on the blade.Īway is a directional angle that literally points to where the action will occur. We can see the characters face along with the sword, and it’s coming right for us! These kinds of angles allow the reader to jump right into the thick of the battle and briefly experience it.ĭiagonal works like Towards but is compositionally different in that it shows a moment in between aggressive actions (e.g., swinging of the sword) rather than a direct jab. Towards & From Below both have a high emotional impact. Sword foreshortening allows for dynamic angles in which the whole sword and a good portion if not the entire face and body of the character to be seen. Now let’s get into the heart of the matter, sword fights! There are different ways to draw swords in action, which we will review below. It shows a sword and hovering hand at the ready and a shot of its intended target. On Hip is the most offensive of all the panels. The sword is in a passive position but at the ready, if needed. On Shoulder is a step in a more offensive direction but still has an air of casualty. Notice that the sword also points in the direction of the figures in the distance, indicating a possible future connection. Panels like Back Scabbard remind us that despite the lack of immediate action, the character is armed and ready. These characters are ready to fight if needed, but could just be talking as in the former or utterly calm as in the latter. Tip to the Ground and In Ground give the most passive stance. Swords can also be a vehicle that communicates the mood of a scene or a character’s current feelings.Īlthough it’s tempting to jump right into the action of battle, swords can do a lot of communication while at rest. Sword fights have a unique visual language to them, due to the amazing compositional opportunities created by the bold, straight lines of the swords. Physical lines that guide the eye around a page Learn how you can draw… or learn how to THINK when you DRAW with the Etherington Brothers!
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