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Question for comic/manga artists:
How do you visualize and then apply a scene/scenes involving crowds without making the crowds appear static or boring? I can barely visualize 2-3 characters together doing different things, but I will need to include large crowds the future. Examples of scenes like in Wind Breaker, or Existence, JJK. (shares appreciated because I really would like some help here)
Art by Guido Buzzelli (1927–1992) from the pages of Adelina Tattilo’s Menelik magazine
a thing that bothers me about crowd scenes in movies/tv shows:
every coffee cup is the same size (generally what i would consider small) and color (blue with some white).
like i get that productions want to avoid branded cups (to avoid the idea of ‘advertising’). but there has to be another option.
@seven-valid-libras can you shed any light on this.
I love the crowds in Baahubali 2 (Telugu, 2017)
George Perez, drawing a crowd scene in 1995's Warren Ellis-written Ultraforce/Avengers #1, throws in as many creator-owned characters as he can fit in (they're all credited to their creators on the issue's last page). Particularly notable: Groo the Wanderer in the lower right-hand corner, and Reuben Flagg to Iron Man's left.
THE DIVINITY OF THE DAIILY
The crowds witnessing the martyrdoms and miracles depicted in quattrocento frescoes often include the work’s patron with members of his retinues. Anachonistically-dressed in contemporary finery, their owe their proximity to the holy, and the salvific benefits that proximity entails, solely to the representational powers of art--there is no other way they can have that experience as mortals. This gives one a sense of the high purposes and stakes involved in the commissioning and creating of religious art in this period.
Given those high stakes, the depicted reactions and behaviors of those patricians in the divine presence is disconcerting. Instead of falling to their knees in reverent silence and riveting all attention on the often grisly events taking place before them, they speak amongst themselves, look over their shoulders, instruct servants and adjust their clothing. Some look out at the viewer, instead of the saints. Others stroll past revivifications without pausing to look. If they wore watches, they would be checking the time. One senses they wear fine clothing because they are stylish and wealthy, not because today was a special day.
Of course, these are not images of bored, sacrilegious grandees stuck in traffic: one expects cultured Italian patricians to keep their cool in all situations. Scenes of hysterical bankers prostrating themselves would imply a calamity, rather than an epiphany, had taken place.
Paradoxically, it is precisely the anecdotal representation of the details of daily life, carried on normally and unexceptionally, that convinces the viewer that what they see arrayed before them is really occurring and enables the miraculous vision. The power of naturalism serves to familiarize and ratify, rather than demystify, the experience of the divine, and to makes the idea of its startling eruption into the secular world seem plausible, comprehensible, and survivable.
The proverb “God is in the details,” attributed to Michelangelo and Flaubert, and used regularly by Aby Warburg and Mies van der Rohe, is the perfectionist’s version of this idea.
Updated my webcomic. 7 new pages. I'd post them on tumblr directly, but you know... (social media sucks)
Where's Wally's Step Brother? by Sam Backhouse
Where’s Wally’s Step Brother?
