While most movies now adhere to some form of frame size (16:9, 2.35:1), comics have the distinct difference of creating panels of varying sizes. Unlike cinema, comics aren’t limited by the size of the screen. Not only were panels used as a technical tool keep the story moving, it became an artistic tool to emotionally charge the story. Over time, artists learned to create new meaning, moods, and ideas through the panel. Indeed, a story of panels is as much one of cinema as it is for comics. Walt Disney married the two mediums though animation. Comic artists and creators often utilized film footage to help their drawings and panel work. Storyboarding became a helpful tool for filmmakers to visualize movies. Being both visual mediums, filmmaking and comics went hand in hand. ![]() In this period, cinema also found its foothold in the world. Entire comic books were being created, and a new industry was born. Terms like “panels” that make up “sequential art” were coined by Will Eisner and other creative giants of the era. Comic strips (stories contained within four panels or less) became a staple in newspapers. Lots can be said about this period, but that’s for another time.īy the 19th and 20th centuries, new printing and art techniques pushed comics towards what we are more familiar with. In Asia, however, cultures were developing towards more detailed and comprehensive sequential art. They were simply visual additions to the written narratives of books. Due to the exhausting engraving/art techniques, visual storytelling was often relegated to single-panel images. It depicts the victory of Rome over the Dacian people.ĭuring the Medieval Ages, up until the 1700s, comics and panels didn’t see much major advancement in Europe. Some of the earliest examples can be found in Egyptian Hieroglyphs, as well as Greek and Roman sculptures and friezes. Separate the images so people can follow them visually and generate the story in their minds. Since the dawn of painting and art, artists have had to tackle the big problem of how to visually represent time? The solution? Create panels. Now that we know what a panel is and its value in the medium, let’s jump into the history of panels, their cultural variances, and some tips on developing an awesome story through them.īelieve it or not, panels are older than comic books. You don’t need any words, simply order the panels in a way that the reader can infer something about the character or moment. ![]() These basic blocks of storytelling are vital in transmitting information to the audience in a visual and fresh way. ![]() Using this simple example, you can see the power of paneling. Since you see multiple moments using this technique, wouldn’t this image NOT be considered a panel according to our definition? As you can see, we follow the actions of Caszy by “ghosting” her movements across frame. Here, Caszy and Koken tag-team to capture a contraption that is on the fritz. Not really sure about the “depicting a frozen moment” part though. This is a lot better than the Merriam-Webster one for sure! Doesn’t limit a panel to a frame, or a comic strip! A panel consists of a single drawing depicting a frozen moment. Luckily, I stumbled upon quite an adequate one on Wikipedia of all places:Ī panel is an individual frame, or single drawing, in the multiple-panel sequence of a c omic strip or comic book. Why is it limited to a comic strip?!? Needless to say, we need a better definition for what a comic panel is. ![]() According to Merriam-Webster, a comic panel is: a frame of a comic strip. Just so we’re on the same page, we first need to define what a panel is in comics. What we’re really here for is to talk about the importance of paneling in a comic. Hey folks, Vince here! I’m one of the creators of the comic series Skies of Fire and Glow, and just can’t stop talking about stories! Seriously, just ask one of our other creators Ray, who has had to listen to hundreds of story ideas over the years :P But, that’s enough about me.
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