The problem is that the artist might naturally see this as something other than what the writer naturally sees. So the writer needs to clarify what sort of sort of motion he's talking about. If she's supposed to be reaching her hand toward her son, just say she's reaching her hand toward her son. Don't leave the artist in a position where he has to guess or make assumptions, or you may not get back what you intended.I guess it's wrong to assume that the artist will know exactly what this means, but wouldn't we all naturally see this as the mother holding her hand out to her son? Her hand is frozen, as this is a static image, but it's not as though she would just be holding her hand out with no previous motion. Don't our brains put this previous motion into the picture, creating the image of motion?
I called moving panel on this one primarily because I didn't know what the motion was, and there are motions she could make toward her son that couldn't be shown in a static image (like one of those patting-the-air "calm down" motions some people do). If the description had been, "She's reaching her hand toward her son," I wouldn't have called it a moving panel.
I could imagine that too. But, again, you shouldn't be making the artist guess, assume, or imagine what you mean. You should be telling him what you mean.This would also be up to the artist, but I imagine two fists raised into the air.
As D. Roberts noted, different people will likely have a different take on what is and isn't a moving panel. Steven and I have disagreed a number of times, because his interpretation of what makes a moving panel is actually stricter (when it comes to how it's worded) than mine. I just try to look at the description and decide if it's a motion that is both clearly understood, and can be captured in a static image.
And you're right that, in many moving panel situations, the artist could sort it out. They can re-interpret the description, or even add an extra panel if necessary, and he can even contact you to ask what you're looking for and negotiate a solution. But the less your artist has to do that, the more he'll appreciate it.
Exactly. Look for the frozen moment, and then describe it clearly and simply. It'll be hard to go too far wrong with that approach.Is the issue here how the scene is being described Calvin? That Jeff wrote "gesturing," which implies motion, instead of something like, "his fists are raised in defiance"?
But don't get too carried away worrying about it, either. There are worse crimes than a moving panel. I've seen people write themselves in circles trying to avoid a moving panel, and end up with a description that's confusing and harder to sort out than just describing the motion - even when describing it straight out wouldn't have been a moving panel in the first place. So, I guess what I'm saying is... keep an eye out for it, but don't get paranoid about it.
Hey, D. Thanks for spotting those errors. Good job.
I fixed the color formatting for clarity's sake, but I left the rest for posterity.