Visual Flow Quotes

At the very core of what a comic is, time and space are kind of the same thing. When your reader moves her eyes across the page, she should be moving through time in your story.

As much as I love creating entertaining visuals, I love toying with the pace of a movie and trying to perfect that. It's imperative to the impact: faster cuts, cuts at the right moments that meld with the tenor of a scene. Creating and maintaining that feeling.

With things like 'Dragon Ball,' in the case of fight scenes, I'd take the panel layout across two pages when the book is opened and alter it by angling them, and making them bigger or smaller, to give movement to the panels themselves.

Lettering should be invisible. You shouldn't notice it, unless it is a determined piece of storytelling in graphic design. Whether handmade or digital, the lettering should be easy on the eye and well placed. It should help tell the story and do nothing to get in the way of it.

One can only display complex information in the mind. Like seeing, movement or flow or alteration of view is more important than the static picture, no matter how lovely.

The great directors, I've learned, have a great sense of rhythm.

The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift. One moment, there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.

The subject says: I see first many things which dance... then everything gradually becomes connected.

And after drawing comes composition. A well-composed painting is half done

As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as they approach, group and regroup as you shift your position. Relationships gradually emerge and sometimes assert themselves with finality. And that's your picture.

Good composition is like a suspension bridge; each line adds strength and takes none away... Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.

The biggest challenge of any cinematographer is making the imagery fit together of a piece: that the whole film has a unity to it, and actually, that a shot doesn't stand out.

As a visual storyteller, a lot is learning what to include so you're not being redundant between images and text.

Tracking action without cutting is the least jarring method of placing the audience into a real-time experience where they are the ones making the subtle choices of where and when to look.

There's a great deal of mystery in film editing, and that's because you're not supposed to see a lot of it. You're supposed to feel that a film has pace and rhythm and drama, but you're not necessarily supposed to be worried about how that was accomplished.

If I can do a scene in one shot, it's in one shot. Most of my shots are pretty long. I think with 'Looking,' what we have in the first minute is a whole episode of a traditional TV show. I like to let things breathe; I like to let things have a certain tone.

I can pick up a screenplay and flip through the pages. If all I see is dialog, dialog, dialog, I won't even read it. I don't care how good the dialog is - it's a moving picture. It has to move all the time... It's not the stage. A movie audience doesn't have the patience to sit and learn a lesson. Their eyes need to be dazzled. The writer is the most important element in the entire film because if it ain't on the page it ain't going to be on the screen.

First of all, directing is an idea that you have of a total flow of images that are going on, which are incidentally actors, words, and objects in space. It's an idea you have of yourself, like the idea you have of your own personality which finds its best representation in the world in terms of specific flows of imaginary images. That's what directing is.

I think, even a lot of people that make movies forget is that, in my mind, a movie should work with the sound off. You should be able to watch a movie without the sound and understand what's going on. That's your job, to build a series of chronological images that tell the story.

I pay a lot of attention to whitespace. I pay a lot of attention to the rhythm of words together.

So that ideas of sort of relaxed symmetry have been something for years that I have been concerned with because I think that symmetry is a neutral shape as opposed to a form of design.

This is about relationships, about the placement of potent colors and the canvas sparkling through. I want the eye to dance across the canvas but direct you, too.

A house must be bedded in the landscape. They both have to work together. In and out, every view from a window has to be sensational. Every view into the house must be the same to ensure continuity.

An editor does not just join shots. He creates emotions out of the shots.

Dimension regulated the general scale of the work, so that the parts may all tell and be effective.