Using Panels and Other Layout Options to Effect

Strangely, most artists tend to ignore what panels can do for them, seeing them as just something to deal with rather than a useful tool. That is, they tend to worry more about what goes on the panels than the panels themselves. This is a tragically wasted opportunity as how the panels are defined can add to the storytelling of the comic. While it does require some planning to pull off, that planning can add some really nice visual elements to the comic that are well worth the extra effort.

It is thus highly recommended that artists don't just look at the art itself, but the layout of the comic as well. While some types of comics have definite layout restrictions (such as the four-panel strip), others give the artist a lot of options. Even if it's just a one-page webcomic released once a week, that format gives the artist some potential for some serious fun and it should be taken advantage of whenever possible. You would be surprised how often something as simple as some captions in a box can make for something really interesting, or at least more interesting than just a box by itself.

[Who defines the panels needs to be defined before the script is written. While most artists prefer to decide on how the paneling works themselves, some don't mind some input from the writer, with some preferring that the writer suggests how things will be broken down through the use of thumbnails. However, as most writers don't have any graphics experience, this can create some chaos, especially if the writer is one of those who writes full stories. With that in mind, the writer and artist need to discuss who does the paneling and whether or not the other can make suggestions as to the layout.]

Splash Page

Comics usually start with the splash page. This is usually one panel, sometimes sitting on top of three to four smaller ones. Ignoring the vital information usually found on the page allows you to set up the rest of the comic. The four main approaches are:

• Something dramatic to get readers into the comic. Usually, this is the hero dealing with one of his minor villains, but can also have the hero dealing with minions or some sort of obvious problem, like a meteor about to hit him. 
• The flash-forward. Readers are greeted with a scene from later in the comic; this acts as a coming attraction of things to come, enticing readers enough to stick around to see what's going to happen.
• The greeting. The hero is doing something normal, such as cooking, talking with friends, or some other scene from the non-heroic part of their life. This is just something fluffy before the readers get hit with the real story. 
• The villain's monologue. Sometimes you want to give the bad guy the spotlight and so you show him doing something like telling his plans and goals or even something evil, like sacrificing a random victim or stealing candy from a baby.

While there are plenty of other approaches, the idea behind the splash page is to draw the reader in with something big and then go to the regular story. It's the entry page to the rest of the story and so tends to be done rather dramatically. This does not mean it needs to be the first page; lots of comics either wait until the second or third page (sometimes you want to build up to it), and some don't even have one. However, because it gives the artist a chance to have some fun it's usually included.

[Some comics opt for another way to start the comic: The synopsis. This is a page that catches the reader up on past events; this is especially nice with comics that are densely plotted. This allows you to get straight to the story without having to use several pages of story to catch readers up. Some comics provide additional information (organization notes, diary pages, even technical read-outs). It can be used with the traditional splash page, but is usually before it.]

Indicia

In a proper comic, there are two blocks of information that need to show up as early as possible: the credits and the indicia. The credits are simply who did the comic, and it's traditional to either put them on the splash page or as part of the synopsis section. The indicia needs to show up on the first page as it contains all of the necessary legal information (title, volume/issue, date published, rights owner and relevant information, and other publishing information). Since it needs to be allowed for in the layout, it's worth noting so you can allow some room for all of this information.

The Grid

Simply put, your layout needs to have some sort of plan and the grid is that plan. The grid should be treated as guidelines, but can provide a communication tool between writer and artist; it allows the writer to describe things in more exact detail and allows for notes like "combine panels 2+3".

The most used grids are 3x4 (four rows of three panels each), 3x3 (three rows of three panels each), and 2x3 (three rows with two panels each). Occasionally, you will see a 2x2 grid, but those are somewhat infrequent. Each panel is presumed to be the same size. The precise format is usually agreed upon before the writer gets going as the larger the panels, the easier it is to draw but the more information each panel needs to carry or it slows down the story too much. Given the usual limitation of one action per panel, this is an important consideration.

Don't make the mistake that just because you've established a grid you need to stick to it. For example, you can combine the panels of the top row or split three panels into three; this is just to provide something that allows the writer and artist to visualize the layout of the page. However, keep in mind the numbering convention of panels: Each individual panel gets its own number, that number is based on the reading order, and combined panels do not count as multiple panels nor disrupt the numbering system.

For example, let's say you decide on a 2x3 grid (six panels total). You decide to combine the top two, convert the middle row into three panels, and combine the bottom row into one panel (five panels total). The panels would be numbered [1,2,3.4,5] not [1,4,5,6,7]. It's not that hard. HONEST.

Why would you do that? Well, it can help the flow of the story to use different-sized panels, it can break things up so you're not using the same format on every page, and sometimes you just need the bigger panels. Being able to mess with panel sizes helps with all of that.

But you need something to hang it all on first, and that's what the grid does.

Captions 

You're going to need text every so often to quickly get information across (such as when you change locations, mess with time, or even want to point when something calls back to an earlier comic). In an era without thought balloons, captions are used to allow characters private thoughts, provided you've established a specific color for the character. They can even allow characters to add commentary or added details during a flashback. You can even use captions with arrows to point things out.

You need to establish shapes, colors, and even shadowing effects for your captions, as well as a format for them in the case of callbacks ("Issue 27 - -editor", for example). The colors are especially important if you're going to use them for characters' thoughts and comments; color will keep things organized. Keep the captions consistent, no matter what; they are there to keep information useful, after all, and inconsistent captions will just make your comic a mess.

Bursts 

These are just captions on steroids. While most captions are mostly asides, sometimes you're going to want to do something a bit more…intrusive, such as when you want a character's emotions to be known ("She felt like a new-born star"), you need the readers in on the joke ("Remember that spanner from earlier?"), or make sure something isn't missed ("Who could this be?"). While you should avoid their use, they do make great visual elements, especially on the splash page and last page. Use them sparingly on the other pages and you should be fine.

[It should be noted that these work well in humor books, especially if they're used intentionally ludicrously. But do try to use them judiciously; even in a humor book they can get annoying.]

Leaders 

Some people divide their stories into chapters; this makes it easy to organize the story, making it easier to write. If they write novels, then it's even more likely. A neat trick is to start each chapter with what I call a "leader": Combine the top row of panels into one panel, throw on a caption to establish the time and place, and then instruct the artist to treat it as an establishing shot of the scene. It's a simple way to convey a lot of information, allow the reader to shift into the new scene more easily, and looks pretty good, making it well worth it.

Talking Heads

Doing dialogue scenes suck, especially from a visual perspective. However, dialogue is the best way of getting information to the reader, so it's somewhat necessary. So, there are some different ways of handling it:

•  If your characters are using warring monologues (which they shouldn't) as their dialogue, then you can use the normal panel size, possibly even combining panels if needed. 
•  If it's pretty much just an info dump, use bigger panels and combine them with infographics (maps, relevant pictures, graphs) as needed to give it some decent visual elements. 
•  If it's just people talking, use smaller heads, forget the backgrounds, and just use different colors to differentiate the speakers. You can use regular panels to establish locations, but you should only need to do this once per character; ideally, this is the location of one character at the beginning and the location of the other character at the end (if the scene transfers there).

[This sort of dialogue is great to show how powerful a character's social skills are, how strong their social network is, or just to show something about their character. It can also feed readers information while building characters. So it's a fun tool, but one used sparingly.]

Double-page Spreads

Occasionally, you'll feel the need to show everyone all at once, be it an amazing assembly of characters, when aliens first arrive, or a huge battle scene. The best option for this is the double-page spread, where you take two facing pages and treat them as one huge panel; there is just nothing better for scenes built on pure awesomeness. While artists tend to hate these due to the sheer amount of detail involved, nonetheless they are great to throw in every so often, so try to negotiate having one every couple of issues, but only when circumstances warrant it.

A fun variation of this is to have smaller panels below all of this, either showing reaction shots from characters or other things going on. You can also scatter panels along the edges of the picture as well.

Triptychs

Sometimes you want to show movement but show off the scenery somewhat. One great solution is to break up the scenery into several panels; the idea is to take one picture and use it as the background for several panels. The character then moves through each panel. This allows you to flout the "one action per panel" while doing something neat with the panels.

[This is what I call it because I usually use three panels, making it the graphic equivalent of one of those paintings in three parts that you can fold up.]

Destroying the Grid

Obviously, you can keep to the grid and do fine. However, this does not mean you need to preserve the grid at all costs. Sometimes you're just going to want to do some really weird things just to see what happens, like a splash page but with panels down the side, doing some pin-ups, or doing a big panel surrounded by little panels. There is absolutely no reason for you to try anything you want to try; it's your comic so let your imagination go wild.

If you see something in another comic and you want to try it in yours, go for it.

Keep It Invisible 

However, I will suggest pumping the brakes a little. The catch is that while the art will draw in readers, the writing will keep them; this means that you need to balance the art with the writing with the writing winning out just a little if you want a sustained audience. It's fine to do a book of pin-ups, for example, but it's unlikely you'll sell more than a few volumes, especially if the characters are unknown. You need some sort of context for the characters to become important to the readers, to make them more than just pretty pictures. Writing provides that context.

If you worry too much about making the layout look pretty, you also make it harder for the reader to follow the story. Readers need some regularity in order to follow the story; if your layout does too much then they're going to have problems reading it. So, make it pretty and have some fun with it, but remember to worry more about readability than making it look pretty.

* * * * *

With all of this in mind, there should be no reason that your pages should be boring. By messing around with different panel sizes, how those panels are used, and even playing around with the captions, you should be able to have a lot of fun with the format. Better yet, with a little planning and imagination, it should be easy to work out some ways to add to the visual elements of the page, making for some really nice comics.