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Oct 2020

I feel this problem both ways?? Although I don’t do many traditional boxed in panels, I struggle with making the layout more dynamic and then wonder if I’ve gone too far, making too dynamic so the reader doesn’t know where to slow or what panels to focus on. I think a good comparison for panels would be the use of the word ‘said’ And other descriptor verbs. It’s actually okay to use said a lot, that way the reader doesn’t have to really focus on it and can move on but still understand what the writer is trying to communicate. It also makes it all the more important when a character ‘screamed’ or ‘gasped’. You can’t over use these words and like paneling, you can’t over use being too dynamic. For intense Visual actions or where there is little dialogue it’s good to have expressive and dynamic paneling but for dialogue heavy pages it’s good to have simple panelling that doesn’t take too much time to process because the reader will be mostly reading the bubbles.

I hope that helps or makes sense!

I'm so worried about that! Occasionally, I'll break it up and have a more abstract experimental layout... but often times it's just a bunch of square and rectangles! haha The vertical format is still pretty new to me. I know the creative layout possibilities are almost endless on vertical comics but I'm used to thinking in a traditional comic/graphic novel format.

Sometimes I worry about it. But I'd rather my comic be easy to read with plain layout than interesting layouts but no one can read it!

I have trouble with panels too!

I remember 2 pro creators showed me they do 3 inch thumbnails of pages to figure out the best layout without having to spend your time drawing a page and then not liking the panel placement.

I am guilty of drawing the whole page and erasing a lot instead of making small thumbnails to see what flows.

@Legendofgenii Oh god I'm so flattered right now. Honestly I've been meaning to read this thread for a while cause I have lots of problems panneling and it's one of the hardest steps for me to do so I didn't expect this at all :sweat_02:
I'm not lying when I say that I feel that most of my layouts tend to be repetitive, that's why I try really hard to make small shifts to distinct them from page to page.

It's true! I think your newest pages especially are incredible! :heart_eyes:

Since I read this post I am now putting in a bit more effort. :+1:

I am trying my best to not repeat my layouts. It is to the point of paranoia that I try to avoid the same setup being repeated at least not sooner than 3-4 pages from it.

And yeah, I'm similarly paranoid about the simplicity of my paneling (It's not 1970s anymore and we're not printing sequentials in the press, so basic grid panels are just boring and extremely unimaginative in a medium that should be all about imagination) and that there's not enough panes on them as well. Especially aggravating with some mini-scenes that refuse to fit on one page but are still too short for two pages. So you either forced to reduce your panel count (Which is bad for the readers since you had waited for a week for a new page and all you got is three pictures on which nothing had happened much) or to pad it with filler panels (which might be hurting the pacing of the story, IDK, this concept is too abstract to me to quantify into solid useful rules)

Opinions as a reader:

I think panelling matters a lot. Like for me, I'm used to the shoujo/iseaki korean manhua type panelling (you know, the ones with tons of sparkles, colours, flowers, prism dust and other effects) and if I see a similar genre of webtoon executing that very well.... I'm drawn to it a lot more. (Of course it depends on the genre and all because for example, superhero type comics are usually drawn in a western comic style paneling so I don't hold the same standard to all comics) I mean sure the story matters but let's be real... webtoons has always been about the visuals first and the story later. The better it looks aesthetically and the easier it is on the eyes, the more people will stick around for more.

Opinions as a creator:

DEAR LORD PANELLING IS HARD :sob: Even with examples and references of how other comics/manhuas/webtoons does it, it's really the case of easier said than done. I think getting better at panelling is really is based on experience. Experimenting around, making use of references and getting feedback helps a lot. I was talking to an amazing artist the other day on how she storyboards (she's really REALLY good at it like it's a actually a professional level comic) and she told me it's because she's worked as an editor with several artists in the past with THEIR comics. Eventually, she picked up a lot of experience along the way and ended up with the skills needed to execute it. So yea... if panelling/storyboarding is difficult right now, just have to remember that, very much like art skills or learning anatomy, doing storyboarding is also a learnt process and eventually, you'll get much better at it :smile:

I do this as well. I mean, the poses of the characters work for the next panel, they're the same, but I just want to change the expressions and don't feel the need to make an entirely new panel. I mean, I have seen 2D animators do this too. I just call it being resourceful. It can save time so a creator can work on other really important panels or details. As long as it's not abundant, I think it's okay. I have only done it within an episode I believe, not spanning multiple episodes where I reuse panels or character poses, for example. Either way, since I have been there, I don't mind other creators doing it every now and again.

This is a similar thing I do. I don't mind this personally. It's appropriate in my opinion. But I can see why creators might feel guilty or perhaps readers might comment on it, but I think it's okay in certain circumstances.

I just finished panelling for one of my chapters (probably gonna make adjustments once I digitise my rough sketches). I try to mix up the layouts quite a bit to fit the pacing and tone of the story but you can definitely see there's certain layouts i default to a lot, especially for more "neutral" scenes

I find that readability is far more important than making it interesting. Sure, they can intersect well if you know what you're doing, but if you're still fresh and just want to tell your story, then I'd be more concerned about people being able to follow. I know you've probably been told before, but I find forming more or less a zig zag that follows the reading direction, helps A LOT. Same with speech bubble placement.

Also, I know this is a really goofy tutorial, but I have a how to draw book from back in the day, and I still find these tips pretty useful. Simple, but very useful. (Sorry for the bad pics, I don't have a scanner lol)

@ItzaMeLuigi I kinda do very stick figure like sketches of a bunch of pages to decide the panel layouts, but I move stuff around sometimes. My biggest fear is to make the page too crowded so it's difficult to read lmao rip.

@Legendofgenii I low key think in animations, but don't have the skill \ patience to create them (Yet?). I guess it's sort of translates into comic panels? And I think you should go for it if you feel like doing a more experimental layout! If you feel like it of course!

@nathanKmcwilliams omg that page looks SUPER cool! And I use Medibang for panels and Procreate for everything else. I should definitely try spacing stuff out or have speech bubbes sort of burst out of the panels :thinking:

@RosesnWater I think the balance between dynamic panels and readability is key. I kinda experimented with layout a little bit in my second comic and did this weird zigzag page:

@pilot-obvious
Same, I do traditional comics, but I think you can kinda have best of both worlds. Vertical format allows for kind of dramatic pauses and lots of space for text and speech bubbles (one of the things that inspired me to do comics is Noblesse), and I think its possible to use the effects in a regular page as well. I did that when adapting the prologue to Bestia's Wrath for webtoon cause my text was just too small for it to be easily legible with a small image.

They used to be all crowded in the bottom of one page. Maybe I'll do a similar layout if I have another page with lots of talking in it again lol.

@dewarcomics honestly SAME. I'm readability \ accessibility first. I miss the ability to add image descriptions that Smackjeeves had tbh.

@CrystallikeICE I kinda just do stick figure layouts on the big page. Easy to modify similar to small thumbnails, but i might give thumbnails a try too.

@honeyandcreambutter Sparkles sound really fun tbh. And yea making panels is hard but I think and hope I've gotten better at it. I kinda went from really crowded hard to read pages to pages that give the characters space to talk and do stuff. Maybe they aren't the most dynamic but again, i'm more focused on readability.

@seiraph These look really good IMO. I quite like number 35.

@akemikae I absolutely agree on readability. I didn't really know about the zigzag thing but it makes sense.

Sometimes yes, but you also have to keep in mind that panels are like a style all on their own.

  • Some artists keep almost all their work within squares and rectangles. (Kouta Hirano's Drifters and Hellsing)
  • Other artists are incredibly creative and their panels can take multiple forms that naturally guide your eyes through the panels. (See Yoshiki Nakamura's Skip Beat)
  • Some artists don't use panels to such an advantage at all. It's not needed for their stuff (
    Monthly Girls' Nozaki-kun and Mitsudomoe. Both follow limited format)

I honestly feel like that is a skill you really have to fine tune over years of experience so I don't try to copy that. I have a decent idea of how to guide viewer's eyes but Nakamura is on a whole other level.

And oh my God now we're gonna add webcomic formatting? jeez. Granted webcomics are waaay easier to panel than something like Nakamura's work.

Basically, you shouldn't worry about trying to overthink panelling. Start with what's comfortable and easy to follow (squares and rectangles) and use references when you want to push your boundaries a bit. If it's an area you're really into, you have to really study panels because they're a whole other style.

EDIT: I can't emphasize Skip Beat enough, you really should look at her panel work, it's fucking amazing.

Thank you! Honestly, 35's one of the pages I'm most unsure about (one of those situations where the thumbnails and sketches don't seem to translate well to digital) so it's great to get some positive feedback on it!

Huh, I have a few of the early volumes in my collection from like Middle school but I haven't looked at them in about as long. I might have to go dig them out to flip through on this recommendation alone~

This kicks me a lot, and I try not to be so "basic", but there is nothing wrong with being basic sometimes. On the flip side I tend to ramp my page layouts down to basic at times so when I do hit an exciting part of my comic, I can get as creative as I need to.

I don't think having a basic layout is bad, but I still feel a little anxious about it lol

When I went through my phase of studying panel layout, I realized how amazingly good Yoshiki Nakamura is at making them. You don't have to read chapter by chapter (though it IS a good manga), just study pages and how she does her panels.

I'm sure there's some others out there but I studied panels for a brief period and don't remember anyone else