When considering an arrangement of panels and gutters, also known as a layout, on a page or screen, there are two important things to think about:
how the arrangement of panels and gutters influence the time and space of the events being depicted on that page
how individual pages with different or similar panel-gutter arrangements interact with each other back-to-back
A little side-note for artists before continuing: I want to point out that not every page must have a unique arrangement. It’s okay to use grids or more typical arrangements. In fact, it is important to use them as often as needed in between ambitious or stunning layouts. Stories need moments of regularity in between impactful scenes. Regularity provides contrast, and will make special moments feel more special. Besides, let’s be pragmatic — inventing unique page layouts all the time is creatively labour-intensive. Best to save that energy for when it’s needed.
We are familiar with comics that use a grid: box panels arranged in a grid format with equally-spaced gutters. This is the most common type of panel-gutter arrangement and therefore the most easy to understand. The effect of this grid arrangement on time and space is that they become regular. Think about percussions underneath a song. Usually, the time and space in a page that uses this grid are straightforward, and, as a page by itself, don’t necessarily make a narrative point.
The different types of grid layout: the 3 panel cartoon strip, the yonkoma (4 panel), and the 9 grid.
The various configurations of a grid layout used by Jack Kirby. These configurations are standard across comics. Source unknown (if you know where this image is from, let me know).
It’s when we diverge from this grid that interesting things start to happen. Even a minor change can create big effects. For example, here is a 9 panel grid, with a twist:
On the left, a typical 6 grid comic depicting a character entering and leaving a group conversation at a party. On the right, the 6 grid is given a twist to show the character physically and narratively leaving the conversation. The final panel detaches from the grid and extends to the edge of the space.
The grid may be ignored entirely, showing off some sophisticated uses of space and effects.
Six Hundred and Seventy Six Apparitions of Killoffer, Patrice Killoffer.
Hanna is Not a Boy's Name, Tess Stone.
A panel may dominate the rest of the grid.
A forepanel of the character in front of 4 panels. Pa-Luis.
In some cases, the gutters disappear. Sometimes the artwork is so large it creates a full bleed layout.
Two characters track across the graveyard acting out their individual stories, until their paths merge. Romeo e Juliet, Gianni De Luca.
Or the gutters will dominate and make the biggest impact.
The gutter is decorated with Ottoman florals, potentially emphasising the blossoming of a relationship. The Carpet Merchant of Konstantiniyya, Reimena Yee.
Sparse, expansive gutter forces the reader to pause, giving space and weight to an emotional moment. The Carpet Merchant of Konstantiniyya, Reimena Yee.
Understanding panel-gutter arrangements, and how they influence time-space within a page and across multiple pages, is necessary to understand how comics work.
When we combine this knowledge with an understanding of imagery and how images evoke messages, emotions, sensation, associations — a new multimodal form of storytelling and reading arises. One that enables creators to bend reality and include layers of meaning, that also encourages readers to participate in the story experience at their own pace.
This is the unique peculiarity of comics that makes it unlike anything else, and it is from this peculiarity that devices emerge which take full advantage of the medium.
