Time & Motion: Andrese Collins

When dealing with time and motion in arts and comics, the artist uses a sequence of repetitive or similar scenes  that gradually relays an indication that something within the comic is moving. When making motions you must also keep timing in mind in order to guide the readers eyes and mind through the comic. In order to emphasize the movement of our elements, we must also use various techniques such as implied motions so that we can maintain a realistic display of motions.Using implied motions such as diagonal, static and cropped motions help to show how elements are moving and the direction and flow their displaying in and out of the frames.


Page 1 of Tom Van Duesen’s “Now That’s What I Call Comics v.1”

In the comic, “Now That’s What I Call Comics v.1”, the first page is a quick comic scene where the crocodile comes to a stop at the light and is asked by a dog for spare change. As the scene continues, the crocodiles car itself and the dog remain in static motion in order to show a focal point of the scene. While the car itself stands still, the car still makes all of the motions as well as the crocodile too.

In “Now That’s What I Call Comics v.1”, there is a change over time technique being displayed. The crocodile first turns his head towards the dog, then turns his head back towards the street light which then follows up with the movement of his convertible top assembling and the windows being rolled up as well. Last we see the crocodile finally driving off as Tom used implied cropping motion to help emphasize the motion and even made the change of motion for the street light showing that the  street light went from red to green. Tom also used a full display of cropping motion along the right hand edge of each frame. Tom made sure to show that the traffic ahead of the crocodile was moving as well by drawing various type of cars in each panel.


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