Structure a Comic Book Page
Comic books are an excellent way to visually represent stories. However, there are a few rules to follow to ensure the best reading experience possible. In this tutorial, we will see how to compose a comic book page.
ANATOMY OF A COMIC BOOK PAGE
Whether it's in manga, comics, or Franco-Belgian graphic novels, the pages, also called boards, are all composed in the same way. They feature a sequence of panels (or frames), filled with drawings accompanied by speech bubbles, also known as balloons.
The panels are arranged on a board following a pattern: the grid layout. The grid layout is a grid used to organize panels on a board. There are two common types of grid layouts: the 4-row and 3-column grid, and the 3-row and 3-column grid. They are more commonly referred to as the 4x3 grid and the 3x3 grid. The 4x3 grid is most often used in larger formats, such as French-Belgian comics or comic books, while the 3x3 grid is used in smaller formats, such as manga.
The space between the boards is called the “gutter”. The space is generally wider between lines than between columns, which makes it easier to read a comic strip. At the edges of the strip there are margins. There are two types: the safety margin and the bleed margin. The bleed margin represents everything that will be cut during the printing and assembly of the comic strip. For this reason, it is essential to avoid putting important information in the margin.
Safety margins represent the space a bit too close to the edge of the board or the binding. Important information is generally avoided here, but everything between these margins and the bleed should not be cut.
HOW TO CREATE THE PANELS AND LAYOUTS FOR YOUR COMIC BOOK?
As previously seen, the panels of a comic strip are arranged in a grid format. They can vary in shape and size. These are generally adapted to the scenes they need to contain.
There are several types of panel. The most commonly used are as follows:
As seen in the example, the shape of the panel changes depending on the shot. The space it takes up on the board also changes: a very wide shot will usually occupy an entire line, whereas a very close-up shot can easily fit in a small panel.
The boxes are not necessarily closed, meaning they do not always include borders. We then refer to open boxes for those without borders, and semi-open for those that still retain some. Open and semi-open boxes extend into the bleed area, so pay close attention to their compositions!
DRAWING THE BUBBLES
If panels provide the space in which a scene takes place, speech bubbles are the engine of dialogue between characters.
There are various forms of dialogue bubbles and, although one can be creative, there are some rules to follow. Dialogue bubbles are usually round and end with a tail pointing towards the speaking character. Thought bubbles can be round or cloud-shaped and usually have a dotted tail. Exclamation or shouting bubbles have an explosive shape and a pointed tail.
Finally, narration bubbles are usually rectangular. These codes may vary depending on the format (comics, manga) but are generally viable everywhere.
If there are several speech bubbles in a panel, remember to arrange them from top to bottom in reading order so that they are read in the correct sequence. It is also necessary to plan in advance the space needed for the bubbles in the panels to avoid covering the drawings!
THE ESSENTIAL TOOL IN COMICS: THE STORYBOARD
We never create a comic strip on the fly, without having an overview of it. The storyboard is the tool that allows you to quickly visualize all its panels and check their coherence and narration throughout the comic. It’s a kind of alpha version of the comic: something very rough but readable.
In a storyboard, the quality of the drawings is not important. You can just as well draw stick figures and note down a few elements, as long as the action remains comprehensible. However, it is at this stage that one can choose shots, arrange panels and leave room for dialogue.
As it covers the entirety of your comic book, the storyboard also allows you to check the layout of the pages in relation to each other. When reading a comic book, you always have two pages facing you: the even page and the odd page.
Typically, the beginning of an even-numbered page is used to indicate the setting of the action, i.e. the exposition. The end of an odd-numbered page is used to create tension, i.e. the cliffhanger. Finally, the beginning of the even-numbered page following a cliffhanger is used to resolve the tension: it is the resolution. These three events serve to set the pace of the comic. A resolution that comes at the beginning of an odd page cancels out any element of surprise, and a change of setting in the middle of a page seems strange...
You are now ready to start on your first comic book! Take the time to have a clear and smooth storyboard, it will be your best friend throughout your creation!
Written and illustrated by Louis Grieves.