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Comic sounds

So i have what was today's update done Ha, I'm really have at including onomatopoeia. I always feel like it's super awkward and half the time I just don't include them. It's weird to make them but I enjoy it. I misspell the word I want to use like "Crack! Personally I feel like "sound effects" in a nearly entirely visual medium is a very archaic and redundant concept. A lot of the time you can illustrate a sound much more effectively than you could through words, which it's the biggest strength of comics as a whole I feel. If you can SEE a massive impact, chances are your brain already filled in the blanks. Sometimes they can help, but I find the only times where that's the case is when they're taken into account with the entire composition in mind. Probably the best example of this is in the Jojo's Bizarre Adventure series, but even then it has a leg up because Japanese is inherently artistic because the entire language is literally painted.
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Obviously, films and TV shows are filled with sound effects and novels have described sounds for centuries, but comic books are unique because they're the only form of media where sound effects are written out as a distinct aspect of the story. Sounds are not merely described, they're very much experienced. There are many sound effects that get used very frequently in comic books, but this is not a list of the most common ones. Instead, these are the most iconic sound effects, the sound effects that become famous in their own right due to their connection to certain characters or certain moments in comic book history. Here, then, are the most iconic comic book sound effects of all-time. One of the most famous words in all of comics is "Shazam," the magic word used by Billy Batson to transform into the World's Mightiest Mortal, Captain Marvel. Shazam, though, is not a sound effect, as it is an actual word. However, the importance of Batson's transformation into Captain Marvel being accompanied by a signature sound was not lost on Roy Thomas when it came time for him to revamp Marvel's own Captain Marvel, in After a few lackluster years of Captain Marvel fighting the good fight on Earth as an exiled Kree military officer, Thomas and artist Gil Kane revamped Captain Marvel by giving him a stunning new costume and also pairing him with Rick Jones who had already been a sidekick to Hulk and Captain America by this point in his short comic life by doing a variation on Billy Batson transforming into Captain Marvel. This time, it was through special nega-bands that Rick would clang together to trigger a switch with Captain Marvel.
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So i have what was today's update done Ha, I'm really have at including onomatopoeia. I always feel like it's super awkward and half the time I just don't include them. It's weird to make them but I enjoy it. I misspell the word I want to use like "Crack! Personally I feel like "sound effects" in a nearly entirely visual medium is a very archaic and redundant concept. A lot of the time you can illustrate a sound much more effectively than you could through words, which it's the biggest strength of comics as a whole I feel.

If you can SEE a massive impact, chances are your brain already filled in the blanks. Sometimes they can help, but I find the only times where that's the case is when they're taken into account with the entire composition in mind.

Probably the best example of this is in the Jojo's Bizarre Adventure series, but even then it has a leg up because Japanese is inherently artistic because the entire language is literally painted. So yeah, imo sound effects aren't generally that necessary.

I had the same question a while back, got some useful replies if you need more examples here's the thread:. If I'm lazy, I literally just hand write it in. Bing-bang-boom done. I have a hard time with it too. I try to look at other comics for inspiration on how to do mine. But these sites may help too:. As for how to put them in, well, I guess it depends on the program you use. But one thing I know for sure is that the fonts make all the difference.

I suggest Blambot, they have tons of free fonts and an SFX section. Sometimes I put mine behind the action, sometimes off to the side, other time in front. Like these pages:. And I found this helpful, personally. Not only for designing SFX but also it talks about placement. The tutorial is for Adobe Illustrator but you can probably find your own way to do it in whatever program you use.

I personally use PS CS5. But other than that it can help give you some good ideas. The answer dropped above. Separate layer and usually custom work based on the page, layout and color ing. Customizing the effect s is huge. I'd say it does depend on what you're making. For instance, in more serious things it doesn't work so well. Personally, if you are to do it, you want it to sort of pop out of the page in some way, like in the lettering and sometimes in its color. I use bold and caps, but I also use the right font to get the sound accross.

Impact is what I use for punching, knocking or booming sounds, bubble or liquid like fonts for splashing or such and so on. The font should match the sound and look like the element it is coming from. I hand write them, then put some colors to make them stand out a little. A nice touch is when a sound effect is stylized after the thing which made that sound.

Made out of lightning or something like that. I hand-draw all my sound effects too. Generally I have two kinds of sound effects - big and small effects. Small effects I draw by writing a word and stroking the outside of it. Big sound effects I write in bubble letters or otherwise big letters. Comic sound effects, how do?!

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