CHAPTER

15
Tell Stories with Visuals
“Story is the language of experience.”
— Lisa Cron
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282

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 Tell Stories with Visuals 283

THE FRAMEWORK
THIS CHAPTER answers these questions:

■ What is visual storytelling?

■ How do I design a visual story?

■ How can my visuals make a narrative most effective?

Did you ever sit through a bad movie or read a poorly written novel because you were compelled to find out what happened at the end?
Stories keep us engaged because they spark our curiosity. We must find out how the protagonist fares and we can’t stop watching, reading,

or listening until we know. Stories are also captivating because they touch our emotions. If we feel empathy for the characters, we experience

the pain of their struggles and the joy of their successes.

For generations, people have been using the allure of stories to pass on knowledge, skills, and wisdom within communities and cultures.

Stories help us make sense of the experiences we have and to learn from the experiences of others. This prepares us for unexpected events

that may occur in the future.

In this chapter, you will learn how to convey a narrative using a combination of images and words. You will see how to use visual language

to bring stories to life.

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 284 Visual Design Solutions

VISUAL STORYTELLING
“A story is the narration of a sequence of events deliberately arranged for telling,” wrote master cartoonist and writer Will Eisner
(2008, p. 3). This concise explanation makes two important points. First, storytelling involves a sequence of events. In the case
of visual storytelling, it is a sequence of images, usually accompanied by text. Second, this sequence of events is intentionally
structured to tell a story. It has a beginning, a middle, and an end. In this chapter, we will look at several options for creating
stories told in a sequence of static images.
Reading visual stories is not the norm for most adults, who spend nearly all of their reading time with the written word. In
fact, visual stories are typically relegated to children’s books and comic books. In light of this, do not be surprised if you must
convince stakeholders that visual stories are indeed appropriate for adults. You can point to the increased popularity of graphic
novels and the effectiveness of graphic textbooks for college students (see Atlas Black: Management Guru for an example).
Yet, even in this environment, a visual approach to storytelling is gaining acceptance in eLearning, training, and presentations
as it becomes clear that a narrative format is a valuable medium for learning. See Figure 15.1 for a visual storytelling example
from an eLearning course.

BENEFITS OF VISUAL STORYTELLING

Visual storytelling is an engaging way to present new information and to influence attitudes. It is an ideal approach to setting up
scenarios that build problem-solving skills. Stories are more absorbing than plain facts and figures. Here are some other benefits
of visual storytelling.

Visual Stories Chunk Information

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Visual stories are often divided into panels—smaller segments on the screen. This provides the type of information chunking
that makes it easier for people to learn. When stories are divided into panels or one action per screen, it slows down the pace of
the information flow, which accommodates the capacity of working memory.

Visual Stories Provide a Common Understanding

When a person progresses through a story that is told in both visuals and text, it is similar to watching a movie. Each audience
member sees the same pictures, providing a standardized basis for understanding the story.
In contrast, when reading a written story, readers may form mental pictures of the narrative that are unique to their own
experiences. Without viewing visuals, it’s possible that a story could produce many individualized interpretations, which is
appropriate for literature, but not for most instances of learning. Visual stories, therefore, may help you communicate a consistent
message among varied audience members.

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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 Tell Stories with Visuals 285
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FIGURE 15.1. Visual storytelling is a compelling way to present new information and to establish
problem-solving scenarios. Design by d’Vinci Interactive.

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 286 Visual Design Solutions

Visual Stories Evoke Emotions

A strategic way to connect with an audience is to elicit their emotions. As a story unfolds, a person’s feelings may range from
fear, anger, or disgust to joy, surprise, or amusement. Evoking empathetic emotions is particularly valuable when it comes to
persuasion. That is why presenting a narrative or anecdote is often more powerful than only presenting statistics.
Although both words and images evoke feelings, pictures are able to represent emotions in a concrete way. As shown in
Figure 15.2, pictures convey a character’s emotional state through facial expressions, gestures, and pose (Feng & Halloran, 2012).
Copyright © 2015. John Wiley & Sons, Incorporated. All rights reserved.

FIGURE 15.2. Visuals convey emotions through facial expressions, gestures, and pose.

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 Tell Stories with Visuals 287

Visual Stories Arouse Curiosity

Why do people become hooked on stories and want to keep reading or watching until the conclusion? It may be associated with
the brain chemical dopamine, which contributes to human curiosity and compels people to want to learn more (Weinschenk,
2011). This curiosity can keep a person glued to a story, regardless of what else is going on.
Intriguing visuals can have a similar effect. They, too, can pique a learner’s curiosity and create anticipation. Imagine how
an unusual or mysterious photograph might motivate a learner to think: “What’s going on? I need to find out” (Figure 15.3).
This type of curiosity can heighten someone’s motivation to discover what happens next, all the while he or she is processing
important instructional points.
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FIGURE 15.3. Visuals can create suspense or intrigue in a story.

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WHAT VISUAL STORIES CAN CONVEY

Unlike other graphic formats, visual stories are designed for a narrative framework. One straightforward approach for designing
a story structure is to create a timeline in three parts: set up a problem, elaborate on the problem, and resolve the problem (Ware,
2008). This type of sequence is a comfortable and familiar approach to storytelling. With a structure in place, a visual storytelling
format is a powerful channel for communication. The visual format is rich with ways to express ideas, emotions, and events.
Through a visual narrative, you can do all of the following (McCloud, 2006):

■ Portray the physical features of the characters;

■ Convey emotions through body language; expressions of the eyes, mouth, and hands; and pictorial devices (for example,
little hearts between two people falling in love);
■ Tell what the characters are saying and thinking;
■ Show action through body position and motion lines;
■ Depict scenes and the objects that make up the scenes;
■ Depart from physical reality by representing imaginary worlds and beings;
■ Imply action or words that are taking place off-screen; and
■ Show hidden actions that only the reader, not the other characters, can see.

You can also use visual stories to communicate about many different types of topics because the content is wrapped in the
story package. A visual story is as likely to be effective for teaching how to fix a machine as it is for persuading an audience to
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adopt a healthy lifestyle. Stories provide creative opportunities and solutions in most subject areas.

VISUAL STORY FORMATS FOR LEARNING

One of the first considerations when visualizing a story is to decide on the style of images that will be most beneficial. What
type of pictures will hold people’s interest? What image treatment will make the story most meaningful? There are several types
of illustrated and photographic options that allow for a creative and effective design.

Realistic Illustrations
Realistic drawings are usually rendered by a professional illustrator, many of whom work on a freelance basis. By realistic, I
mean that the characters and objects have a strong resemblance to what they represent, even if the story takes place in a fantastic

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 Tell Stories with Visuals 289

universe. Realistic illustrations are an excellent format for instruction because hand-drawn graphics have visual appeal. See
Figure 15.4 for an example of this approach.

Cartoon Illustrations
Cartoon characters are simpler than realistic illustrations and often have exaggerated features. The effect is often humorous or
amusing, as in Figure 15.5. Although some audience groups may consider a cartoon approach too juvenile for their tastes, many
adult learners seem to enjoy these illustrations and accept them as a conventional approach to instruction. The best approach is
to test cartoons on your audience first to find out their reaction.

Stock Photo Characters

Another image style for visual storytelling is to use photographed eLearning characters like those shown in Figure 15.6. These
stock photo cutouts come in assorted poses that express varied gestures and emotions suitable for storytelling. You can show the
characters interacting with each other to convey the story and can purchase backgrounds to fit the environment you need. Look
for a good selection of diverse models from which to choose, allowing you to make your stories inclusive.

Custom Photos
If your story and content require custom characters or a unique setting, you can also arrange your own photo shoot. When
possible, use a model with acting experience to more easily convey the events and emotions you are seeking to express. Also,
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using an experienced photographer who understands lighting will provide a high-quality product. If you want to create your own
cutout characters, shoot the model against a solid-color wall or screen.

Photo Album Effect

A casual effect for a visual story is to make the images appear as though they are part of a photo album. To achieve this, place
a thick white border around the photographs—a leftover convention of how photographs used to be developed. Another is to
place the images in a slightly angled or overlapping position, which gives the sense that the photos were placed somewhat
randomly. You can add captions to the bottom of the photos to support a narrated story, as in the custom photographs shown
in Figure 15.7.

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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FIGURE 15.4. Example of realistic illustrations with an imaginary character in instructional materials for adult
learners. Illustration by Robert Schoolcraft.

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 Tell Stories with Visuals 291

Sexual Harassment in the Workplace

Ted was a successful sales manager He frequently made jokes and comments
who led his team to record years, but of a sexual nature to the female members
he had one glaring problem. of his team.

Martha, a new employee,

immediately reported his
behaviors to HR in an email. Not all unwanted
She stated his actions were behaviors, however, are
indicative of sexual considered sexual
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harassment. harrassment. Learn more.

FIGURE 15.5. Cartoon illustrations are drawn with simplistic features.

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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FIGURE 15.6. eLearning characters use one model in varied poses. Cutout person courtesy of the
eLearning Brothers.

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 Tell Stories with Visuals 293
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FIGURE 15.7. Screen from a custom photo shoot using captions to enhance the storyline.

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Photo Essay Technique

When images can carry most of the information, you may want to tell a story with a photo essay. This is a journalistic style for
arranging a series of photographs in a narrative sequence. Imagine how powerful a photo essay might be for educating about a
social problem or a scientific issue or for following an event over time. Use this treatment to describe content that benefits from
strong images, to persuade, to show evidence, or to have a potent impact.
In the photo essay, it is conventional to place captions below each image or to use audio narration. This helps readers grasp
the key points. It is also helpful to set up the essay with an establishing shot and then move closer to the subject. When photos
are the main content, use varied imagery to capture action and emotions. The photo essay is under-used in instruction, making
it an attractive way to capture an audience’s attention.

THE VISUAL LANGUAGE OF STORIES

Although graphic novels, narrative tales, and even cave paintings use sequential imagery, you are probably most familiar with
the comic format because many visual techniques derive from this style. As noted previously, the comic format uses a mix of
images and words displayed in a sequence of panels that separate a story into meaningful units. This format works as well with
photographs of people as it does with illustrations. Each panel or frame usually represents a moment in time, but it can also
represent different views or places where the action is happening simultaneously.
In the comic format, each character’s speech is typically displayed within a word balloon, although the balloon is not a
requirement. This approach pulls from a rich tradition of visual language. Some of the main visual language categories of the
comic format are explained next. Take advantage of them.
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Panels
Although you can tell a story in full-screen images, you may find that panels are the best approach, as they allow you to display
more key events of the story. There is a great deal of freedom in the content you can display in a panel. You can show a setting,
characters, objects, or symbols. For example, to set up the location of a scene, you might show tall buildings and a busy city
street in the first frame. Or when discussing how the mind works, you might choose a text caption and show a brain with gears.
You don’t always need to show a literal representation.
Continuity. During design, consider how the images and text you select for each panel determine the continuity and meaning
of the story. A quick change from panel to panel can be disorienting, such as placing characters in a completely different
environment with no mention of why the setting has changed.

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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 Tell Stories with Visuals 295
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FIGURE 15.8. A quiet panel with a silhouette slows down the pace of a story. Illustrations courtesy of
DIY eLearning.

Pacing. Panels can also help you pace the story. To build tension prior to a turning point or for a pregnant pause before a
punch line at the end, comic artists may insert a quiet panel that shows a character in silhouette with silence or just a few words.
See the example in Figure 15.8. This slows the pace down.

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Gutters
RESOURCE: PANEL COMPOSITION The gutter is the white area between the borders of the pan-
els that provides a space in the story sequence. Some comic
For more ideas on improving the composition of your pan-
creators put a great deal of emphasis on the importance of
els, search online for Wally Wood’s 22 Panels That Always
the gutter. A narrow gutter moves the story along at a faster
Work!! Written for comic artists as a spoof, it has become
pace than a wide gutter. A very wide gutter might be inter-
a classic reference for ways to make scenes with lengthy
dialog more interesting.
preted as a transition to another scene.

Word or Speech Balloons

Word balloons are another visual language convention
in the comic tradition that can be used with any type of
character—illustrated or photographed. The word balloon is a graphical representation of speech, consisting of a shape for the
text and a tail that points to the speaker.
There are numerous variations in the shapes and line types you can use for speech balloons. When appropriate, allow the
speech balloon to augment what the character is saying or feeling. A speech balloon rendered with a jagged line will express
the intensity of a character who is yelling. A speech balloon drawn with a dotted line expresses the hush of a whisper. Unusual
speech balloon shapes can express various moods and sounds. See some examples in Figure 15.9.
If word balloons aren’t appropriate for your content or audience, simply place the text near the character with a line pointing
from the text to the speaker. Some refer to this as an open word balloon.

Thought Balloons
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Thought balloons look like clouds with text, where the bubbles lead to the person who is thinking. Their ethereal appearance
aptly represents a character’s inner world. Use these to add another level of depth to the story, revealing the private world that
the reader, but not the other characters, knows about.

Captions
Captions are a narrative device usually displayed in boxes at the top or bottom of a panel. They represent the voice of someone
telling a story, such as an omniscient narrator or the protagonist. Captions convey story information that cannot be expressed by
a character. You can narrate an entire story in captions, with the characters acting out the events. Figure 15.10 shows an example

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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 Tell Stories with Visuals 297

Speaking Yelling
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Whispering Thinking
FIGURE 15.9. You can make word balloons expressive of the storyline by modifying the line type and shape.

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FIGURE 15.10. Example of an illustrated story narrated in captions. Illustrations by Stuart McMillen from the
book St. Matthew Island.

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 Tell Stories with Visuals 299

of an illustrated story that is narrated in this way. Or you can mix captions in with a story that uses speaking characters, as a way
to carry the narrative forward. You can create captions in any shape, size, or color, but in comic books they are often drawn in
yellow rectangles.

Pictorial Devices
In the world of comics, pictorial devices are a form of visual language that amplifies an emotion or action, adding energy to
static images. Here are a few pictorial conventions from the comic format that may enhance your storytelling endeavors.
Action or motion lines. Action lines deserve special attention because of their value for enhancing visual stories. They
symbolize dynamic movement and yet can be drawn in a simple way, shown in Figure 15.11. When a character is running, a few
straight lines behind the person indicate speed. When a character throws a ball in the air, a few curved lines indicate the path that
the ball traveled. The length and shape of the lines also add to the meaning. Short lines indicate greater speed than long lines;
wavy lines indicate an irregular movement, such as floating.
Quiver lines. Quiver lines are a special type of action line that indicate back and forth movement, such as shaking or surprise.
The short lines are drawn close to the outline of a shape. As with so many visual indicators, context is everything. Quiver lines
around a person hugging himself in the snow indicates shivering, and quiver lines around an old truck on a bumpy road represent
the truck’s vibrations.
So many more. Listing all the pictorial devices employed in comics and graphic novels could fill pages. Some of these marks
have been used for decades, and others are created or modified to meet an illustrator’s need in the moment. See Figures 15.12
and 15.13 for a collection of familiar pictorial devices you might wish to use in visual storytelling. This list was partially gleaned
from the satirical book, The Lexicon of Comicana, where you can find a humorous look at pictorial devices.
Copyright © 2015. John Wiley & Sons, Incorporated. All rights reserved.

Sound Effects
Sound effects are words that mimic a sound, such as Crash, Boom, and Pow, rendered in expressive lettering. You could call
this the visualization of onomatopoeia. Sound effects enhance an image by providing an imaginary audio channel, which adds
another dimension to the visual. Although sound effects may be difficult to justify in a serious instructional piece, they can add
excitement and fun to lighter topics.

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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FIGURE 15.11. Action lines and quiver lines represent different types of movement.

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 Tell Stories with Visuals 301
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FIGURE 15.12. Some well-known pictorial devices for storytelling that amplify actions and emotions.
Illustrations by Kevin Thorn, NuggetHead Studioz.

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FIGURE 15.13. More pictorial devices for storytelling that amplify actions and emotions. Illustrations by Kevin
Thorn, NuggetHead Studioz.

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 Tell Stories with Visuals 303

DESIGNING THE VISUAL STORY

Similar to how comic books span many pages, a visual story in an eLearning format spans many screens. The layout must work
to keep the narrative flowing, and the images and text must express the intended message of the script. Here are some design
considerations that will need your attention.

Panel Layout
In Western languages, people read from left to right and top to bottom. This is also the pattern readers follow in visual stories.
Your panel layout, therefore, should support eye movements that flow left to right first and top to bottom second. One way to
ensure that a reader’s eye moves left to right first is to use panels of varying widths staggered in each row and a wider gutter
between rows than between panels. This can stop readers from making the mistake of reading top to bottom first, because it
emphasizes a horizontal flow (see Figure 15.14).

Placing Word Balloons

Word balloons should also encourage left to right reading. Consistently place them so that any conversation between two people
starts with the balloon on the left. Any other pattern will cause confusion. This can be tricky in some panels. When you can’t
make the balloon placement work in this way, use a few panels that show only one person speaking until the correct rhythm
picks up again.
Another guideline is to leave sufficient space for one or more word balloons in a panel. Ensure that the characters and objects
are placed so that the text will fit comfortably in a point size that is legible. Also check that the balloon is not hiding a person,
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object, or scenery that is important to the meaning of the story.

Image Detail
If you are using one image per screen or slide, there is usually sufficient room for detail. But if you are using four or five panels
to a screen, you will need to decide what details to include and what to omit. As a general rule, include what is most important to
the message you want to convey in each panel. Omit extraneous details that obscure the focal point. At times, you may want
to use panels with nothing but an empty background when there is a lot of text in the panel or to focus on the characters
alone.

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FIGURE 15.14. Varying the size of panels in each row helps readers move from left to right before top to bottom.

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 Tell Stories with Visuals 305

Comic Typefaces
Although you can use a standard typeface for the text
inside speech balloons, you may want to select a type- RESOURCES: COMIC TYPEFACES
face designed for the comic format. These look more
Where to purchase professional comic typefaces:
like the hand lettering that readers associate with comics.
Although the aesthetics of comic typeface designs is
■ blambot.com
debated, it will appeal to some readers because it adds
authenticity to the look and feel of the visuals. See the ■ comicraft.com
Resources box for places to find comic typefaces.
Where to find free comic typefaces:
If your final product will be compressed, as is done
with many authoring tools for eLearning, you may need ■ fontsquirrel.com
to use a larger point size than usual. Always check that
the text is legible when compressed and displayed in a ■ dafont.com
browser.
Text and Image Balance
In visual storytelling, text and image rely on each other, so they must be well-integrated and balanced. In most cases, you won’t
want a word balloon with text to fill up a small panel (unless you are showing someone droning on, that is). The solution is to
increase the size of the panel to gain a sense of balance or to separate the text between two panels if the balloon becomes too
unwieldy.
Another visual aspect to consider during design is the angle of the image or “camera.” This is what we’ll explore next.
Copyright © 2015. John Wiley & Sons, Incorporated. All rights reserved.

CAMERA SHOTS AND ANGLES

If you were making a film, would you use the same point of view for each shot or would you vary it depending on the meaning
or emotion of the story? Most likely you would do the latter, showing the scene from a distance to provide context and then
showing a character close up, to convey his or her emotions. You can avoid a monotonous approach to storytelling by borrowing
camera techniques from film. If you consider that every panel represents one moment in a scene, imagine yourself behind the
camera for each frame. This is one way to make your story dynamic.
Camera Shots
Camera shots refer to the scale of what is shown in the frame. Even though you are using static graphics, you can translate
camera shots from film and photography to convey images in ways that help you express the meaning of a story. Here are some
conventional shots to consider. Remember to choose a shot that allows room for text, too. You can see the composition of each
shot in Figure 15.15.

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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 306 Visual Design Solutions
Copyright © 2015. John Wiley & Sons, Incorporated. All rights reserved.

FIGURE 15.15. You can borrow camera shots from film to make a visual narrative more powerful.

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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 Tell Stories with Visuals 307

FIGURE 15.16. A bird’s-eye view creates a striking overview of a scene. Illustration by Robert Schoolcraft.

■ Extreme Close-Up (ECU). A very tight shot that shows a very narrow field of view. For example, it only shows the
character’s eyes or mouth.
Copyright © 2015. John Wiley & Sons, Incorporated. All rights reserved.

■ Close-Up (CU). A tight shot, but the view is pulled back a little so that the frame is cropped at a character’s head and
shoulders.
■ Medium Shot (MS). The camera has a wider and longer field of view. If a character is in the scene, he or she is shown
from the waist up. Close-ups and medium shots are typically the most common shots for telling a story, at least in the
comic format.
■ Long Shot (LS) or Wide Shot (WS). These terms are often used synonymously. The view often shows the full body of
a character in his or her surroundings. It is often used as an establishing shot to provide context at the start of a scene.
■ Two Shot. This shot shows two people in the frame.

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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 308 Visual Design Solutions

You may be thinking that camera shots are easy for illustrators to accomplish, but what if you are using stock photo
cutouts or stock cartoons? You can also make these work. For a long shot, resize the characters so that they appear small in
a larger environment. For a close-up, drag the characters so they are large and crop them so that only the head and shoulders
are showing.

Camera Angles
Whereas the shot defines what will be in the frame, the angle refers to the vantage point or view through which a reader sees
it. An unusual vantage point can evoke a mood and add an original touch. It is another way to approach the visual language of
storytelling.
Camera angles are difficult to replicate when using stock photos and illustrations, which are usually shot at eye level. But you
can work with camera angles if you are creating custom illustrations or photographs. For example, you might want to show Main
Street from a high-level view as an establishing shot for a story that takes place in a small town. What follows is a description
of what you can achieve with various camera angles:

■ Eye-Level Shot. The eye-level view depicts everything from the perspective of the other characters. This is how you
normally see the world, so this vantage point is familiar. This angle is the most common one for storytelling.
■ Worm’s-Eye View. You can make characters appear important or ominous by showing them from a worm’s-eye view,
which is below eye level. Worm’s-eye often distorts the size of a character, making him or her look larger. You most
likely need an illustrator or a custom photo shoot to create graphics from this angle.
■ Bird’s-Eye View. The high-level vantage point has the opposite effect of the worms-eye view, by showing a scene from
above eye level. This point of view provides an overview of a scene, which is good for an establishing shot. It can also
Copyright © 2015. John Wiley & Sons, Incorporated. All rights reserved.

make characters seem small, weak, or less important. See Figure 15.16 for a bird’s-eye angle used as a closing shot to
a visual story.
■ Tilted. Depicting a scene from an angle that is tilted to the vertical lines of the frame makes the panel dramatic and
dynamic. Use this technique to add emphasis and variety when it adds meaning to the story and corresponds with its
emotional tone.

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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 Tell Stories with Visuals 309

THE TAKEAWAYS
■ Visual stories are effective because they present content in small chunks, promote a common understanding, elicit
emotions, and hold interest.

■ Visual stories are appropriate for many types of content, including skill development, knowledge transfer, and chang-
ing attitudes.

■ Some important decisions to make regarding visual story design include the format (photographs or illustrations),
layout, typography, the camera shot, and the camera angle.

■ Take advantage of the rich visual language of telling stories with pictures by using elements, such as panels, speech
balloons, pictorial devices, and sound effects.
Copyright © 2015. John Wiley & Sons, Incorporated. All rights reserved.

Malamed, Connie. Visual Design Solutions : Principles and Creative Inspiration for Learning Professionals, John Wiley & Sons, Incorporated, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/asulib-ebooks/detail.action?docID=1895680.
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