psychological space in comics
DESCRIPTION
Using images from various styles of graphic literature, author James Davidge outlines how layout and design of a comic book page has subtle emotional affects on the reader. Developing an awareness of this impact can allow one to enhance storytelling. For more information on James Daviege, please visit http://www.jamesdavidge.blogspot.ca/TRANSCRIPT
The Psychological Space of Comics
by James Davidge
An image can make us feel
trapped...
Bob Layton, Secret Wars #4, 1984
…unstoppable…
Alex Ross after Mike Zeck, Secret Wars, 2008
…and conflicted.
David Mazzucchelli, Asterios Polyp, 2009
Every comic page is a layout of panels that provide structure, pace and mood.
Chris Ware, Jimmy Corrigan, 2000
Panel shapes can contrast. Borders changing to communicate different states.
Movement can be jarringly simulated.
Art Spiegelman, In the Shadow of No Towers, 2004
Tensions can be developed with an intricate page design…
George Pérez, ArtistMarv Wolfman, WriterCrisis on Infinite Earths # 6, 1985
…angles can be manipulated to force perspective and heighten emotion….
Stephen Bissette & John Totleben, ArtistsAlan Moore, WriterSwamp Thing # 21, 1983
…while stresses can be relieved with a classic splash page.
Phil Jimenez, ArtistGeoff Johns, WriterInfinite Crisis, 2005
Don’t forget the double page spread for special occasions.
A gentle reminder:
Scott McCloud, Understanding Comics, 1993
A few techniques:
repetition
empty space
words only
close up
Keith Giffen,DC Comics Presents #81, 1983
and innovation.
J.H. Williams III, Artist, Alan Moore, Writer, Promethea #15, 2001
Cover Images Will Eisner, The Spirit “Fox at Bay”, 1949Roy Lichtenstein, In the Car, 1963
Double Page SpreadJack Kirby, The Forever People #1, 1971
To learn more about the prose and comic work of James Davidge, please visit:www.jamesdavidge.blogspot.com