Wherein I take away the panel borders, praise Howard Chaykin again, critique Will Eisner, return to Wallace Wood's 22 Panels That Always Work and just freak out, man
I'm not sure why, exactly, but in my own manga project I most often attempt to tell the story without panel borders when I'm recounting something from the ancient past. I also try to use a style that evokes old ukiyo-e prints... However, when I actually design those scenes, I always think of Eisner. His borderless pages in "A Contract With God" made a big impression on me.
Thanks for showing a few more examples here. I was familiar with Mazzuchelli's and Sienkiewicz's pages already, but the Steve Rude and Toppi pages you showed were new to me and they are simply beautiful!
It's really interesting that folk use them in different ways. I think it's important to establish a pattern of storytelling and then purposefully apply a technique so that the reader notices the difference. It's like a signpost to something else happening. I like those subtle shifts, as I think it can build dread. I got really into this when I did The United: Going Underground, particularly with regards to the ending.
Flashbacks are really fund to figure out, Steve Rude is particularly great at drawing them.
I just finished Batman: Year One for the umpteenth time. Although the story has always been weak and rushed, Mazzucchelli's art, pacing and composition are masterful. This is my favorite Batman's story and just because of its art. Speaking of open panels (and I read your piece before re-reading the comic), the way they break the pacing and bring attention to specific details before redirecting the readers into the action is just perfect.
In his one and only Romance tale, Steranko has an exquisite use of the open panel: to express the dream possibilities of an imagined love affair; unconstrained, this could lead anywhere...
Ooft, that Krigstein Rhythm transitioning to an open panel montage, whilst oozing psychedelia, is right up my street. I wouldn't be surprised if Gulacy subsequently used that combination and then Rude, after that.
I watched Chaykin's Paradigm and was looking forward to part two, but it doesn't seem to be available. I didn't quite understand what he was getting at about vignettes, so this was very helpful.
I will read The Scorpio Connection because you've recommended it before. On this page the vignette isolates Fury and Wolverine so the reader can focus on how they relate to each other with their body language and attire. Clothes are something else I'm interested in and I always enjoy seeing characters who usually wear costumes dressed in civilian clothes for a change. Clothes say a lot about someone, so you miss that in superhero comics. This could be a fashion illustration, which is another of Chaykin's strengths.
That Steve Rude page is superb. I've never read Nexus, but I understand the series can be picked up cheaply. I also know nothing about romance comics, but Antonio Bosch's style is right up my street. A Very British Affair was £40 when it came out but you can find it for half that now.
Thank you! Chaykin and Silvestri are two comic artists that I think are great with fashion. I'm regularly nonplussed at the number of present-day comic artists who just cannot draw drapery, particularly suits.
A Very British Affair is great, British romance was very different than the US comics. Less hysterical for a start.
I was under the impression that the "breaking the fourth wall" expression came from theatre where sets are made of three walls and the fourth is the invisible one separating the audience from the players. Addressing the audience thus breaks that wall.
Aye, it does come from theatre and it's pretty huge in pantomime, which is still a big Christmas tradition in the UK. I think there are a few theatrical tools that can be applied in comes, but breaking the fourth wall works differently due to the pictorial element. Everything in comics is a representation, the act comes in the making.
I'm not sure why, exactly, but in my own manga project I most often attempt to tell the story without panel borders when I'm recounting something from the ancient past. I also try to use a style that evokes old ukiyo-e prints... However, when I actually design those scenes, I always think of Eisner. His borderless pages in "A Contract With God" made a big impression on me.
Thanks for showing a few more examples here. I was familiar with Mazzuchelli's and Sienkiewicz's pages already, but the Steve Rude and Toppi pages you showed were new to me and they are simply beautiful!
It's really interesting that folk use them in different ways. I think it's important to establish a pattern of storytelling and then purposefully apply a technique so that the reader notices the difference. It's like a signpost to something else happening. I like those subtle shifts, as I think it can build dread. I got really into this when I did The United: Going Underground, particularly with regards to the ending.
Flashbacks are really fund to figure out, Steve Rude is particularly great at drawing them.
I just finished Batman: Year One for the umpteenth time. Although the story has always been weak and rushed, Mazzucchelli's art, pacing and composition are masterful. This is my favorite Batman's story and just because of its art. Speaking of open panels (and I read your piece before re-reading the comic), the way they break the pacing and bring attention to specific details before redirecting the readers into the action is just perfect.
In his one and only Romance tale, Steranko has an exquisite use of the open panel: to express the dream possibilities of an imagined love affair; unconstrained, this could lead anywhere...
https://www.patreon.com/AllanHarveyRestoration/posts/sensuous-160874124
Ooft, that Krigstein Rhythm transitioning to an open panel montage, whilst oozing psychedelia, is right up my street. I wouldn't be surprised if Gulacy subsequently used that combination and then Rude, after that.
Your digital restoration is beautiful.
I watched Chaykin's Paradigm and was looking forward to part two, but it doesn't seem to be available. I didn't quite understand what he was getting at about vignettes, so this was very helpful.
I will read The Scorpio Connection because you've recommended it before. On this page the vignette isolates Fury and Wolverine so the reader can focus on how they relate to each other with their body language and attire. Clothes are something else I'm interested in and I always enjoy seeing characters who usually wear costumes dressed in civilian clothes for a change. Clothes say a lot about someone, so you miss that in superhero comics. This could be a fashion illustration, which is another of Chaykin's strengths.
That Steve Rude page is superb. I've never read Nexus, but I understand the series can be picked up cheaply. I also know nothing about romance comics, but Antonio Bosch's style is right up my street. A Very British Affair was £40 when it came out but you can find it for half that now.
Thanks for another great article!
Thank you! Chaykin and Silvestri are two comic artists that I think are great with fashion. I'm regularly nonplussed at the number of present-day comic artists who just cannot draw drapery, particularly suits.
A Very British Affair is great, British romance was very different than the US comics. Less hysterical for a start.
I was under the impression that the "breaking the fourth wall" expression came from theatre where sets are made of three walls and the fourth is the invisible one separating the audience from the players. Addressing the audience thus breaks that wall.
Aye, it does come from theatre and it's pretty huge in pantomime, which is still a big Christmas tradition in the UK. I think there are a few theatrical tools that can be applied in comes, but breaking the fourth wall works differently due to the pictorial element. Everything in comics is a representation, the act comes in the making.
Very nice! Love the analysis of how to use panel borders...or lack thereof. Became completely engrossed.
Thank you! I get a bit carried away as I'm really into comics.