From Kinoart.net, an Italian giallo movie poster invoking comics grids. Note the simultaneous grouped reading of the larger "panels", particularly the vanishing point effect toward the eyes close-up.
A short riff on comics as a hybrid form (or not), the dominance of image over text, and why the Cubists would've loved comics...
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"
And then everybody with an opinion or less weighs in about the essence of comics. Excellent. — me, on twitter just now That was on a sudden discussion about writers and artists in comics, who does who, whose is larger, and which part of the storytelling is more important. That's a rather simplistic approach of…
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