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Working with lines
17 March 2005 06:45 pmLinky: ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
telophase on the difference (first of a series) between professional and not quite there yet artists, with examples from manga. Warning: several large graphics. Of special note: a explanation of confidence of line that finally made sense.
Part of this sense is by anaolgy. There's an equivalent in metrical poetry -- which could even be called the same. It's a difference between a poet who knows meter and is making sure his syllables fit the pattern, and one who holds the rhythm in her bones and is saying something with that soundshape. One determining sign: when thére are áwkward pháses cút to fít the fórm, espécially sýntax tángled ór an éxtra wórd that páds it tó the stréss. Poets with confidence of line can write with and upon and against the pattern, playing with the line, using it as part of the expression.
The difference is more clear with rhymed poetry, and the syntactic contortions of a hamhanded poet trying to get the rhyme word at the end of the line (usually the phrase as well -- enjambment is rarely an option to this sort). But that's not so much confidence of line as tin ears.
( Speaking of writing ... )
---L.
trackback:matociquala picks up the conversation (scroll down)
telophase on the difference (first of a series) between professional and not quite there yet artists, with examples from manga. Warning: several large graphics. Of special note: a explanation of confidence of line that finally made sense.Part of this sense is by anaolgy. There's an equivalent in metrical poetry -- which could even be called the same. It's a difference between a poet who knows meter and is making sure his syllables fit the pattern, and one who holds the rhythm in her bones and is saying something with that soundshape. One determining sign: when thére are áwkward pháses cút to fít the fórm, espécially sýntax tángled ór an éxtra wórd that páds it tó the stréss. Poets with confidence of line can write with and upon and against the pattern, playing with the line, using it as part of the expression.
The difference is more clear with rhymed poetry, and the syntactic contortions of a hamhanded poet trying to get the rhyme word at the end of the line (usually the phrase as well -- enjambment is rarely an option to this sort). But that's not so much confidence of line as tin ears.
( Speaking of writing ... )
---L.
trackback:
matociquala picks up the conversation (scroll down)