If you’ve ever had a chance to look at cartoonists original pages you can see the process. You see tons of white out, there are pencil marks that have been erased, there are notes in the margins, and you do all that stuff in the effort so that in the final finished product—the book you hold…
In the sequence above, Crepax utilizes the comics storyteller’s most reliable tool, the grid, but subverts it with an understated grace as potent as that of his pen strokes. As they’re most often laid out, grids work the same way as lines of prose text, moving across the page in straight tiers that read right…
https://youtube.com/watch?v=9AlId6dczOs This already did the rounds online, but I'm adding it to the "Here's a..." post collection for future reference.
"to fully appreciate and comprehend [comics], you have to consider the art in the context of its intention"
I was asked why I always stuck to that nine panel grid in From hell and Alec and I said it was all about the patterns, and I referred to the game of noughts and crosses, or whatever you call it in your part of the world […] And how this opens up all the directions, all simultaneously. You can’t have patterns with 2. That’s just coincidence. You need to be working in 3.
– Eddie Campbell, in a blog post dated 8 September 2011
Q: What are your thoughts on repetition? A: It's the basis for any comprehension that unfolds through time. – Blaise Larmee, interviewed by Shawn Starr and Oliver Ristau