So when I’m writing a comic, I tend to have at least a decent idea of where it’s headed, at least basic plot points, first, second and third acts etc followed by a resolution or at least a solid ending. With that in mind my very next thought is composition. “Composition? But I thought all comic artists just drew pictures of things in little boxes?”

Wrong, imaginary questioner! 

There’s so many books and articles on the subject of making comics, not the least among them is Making Comics by Scott McCloud who tears down and analyzes all the little bits that go into making a good looking comic. One of the many things he mentions is the page flow. I’m going to summarize and show how I kept that in mind when I laid out my page two.

I’ve vandalized page two to show you how I tried to get the flow of the page in a direction that helped the readers eye move along, rather than fight against it.

The top three panels are pretty similar in that it’s one scene not a lot going on, but the ears on panel two and the head on panel three form a continuous line, panel one being a freebie with no direct point of action. After that it’s DING goes the typewriter and return back to the left hand side. Here with the two panels I went for a diagonal line and tried to use the word balloons to do that. Then DING back down to the bottom single panel and chose the main characters line of sight to the new character in the extreme foreground to finish the flow.

If when building a page, you at least start with how it’ll flow, you’re off to a great start and that’s the best way to begin!


-Patch