My goal with these pages was to use the panel borders as figurative walls between the characters. Although they're physically close, they aren't emotionally close yet. It's not until they've both opened up to each other that I allowed them to be in the same panel together.
My goal with these pages was to use the panel borders as figurative walls between the characters. Although they're physically close, they aren't emotionally close yet. It's not until they've both opened up to each other that I allowed them to be in the same panel together.
My goal with these pages was to use the panel borders as figurative walls between the characters. Although they're physically close, they aren't emotionally close yet. It's not until they've both opened up to each other that I allowed them to be in the same panel together.
My goal with these pages was to use the panel borders as figurative walls between the characters. Although they're physically close, they aren't emotionally close yet. It's not until they've both opened up to each other that I allowed them to be in the same panel together.
I like to use panel borders to say something about the characters or their world. In this example from THE DREGS, the panels start off hand drawn & I gradually introduce a ruler because Arnold has just woken up from a drugged out stupour & he's sobering up and getting his barings
I used this a lot in THE DREGS. In one of these pages, Arnold is high (so the borders are hand drawn) and the other he's sober (so I used a ruler for the borders). The borders convey how shaky the world is for him.
I used this a lot in THE DREGS. In one of these pages, Arnold is high (so the borders are hand drawn) and the other he's sober (so I used a ruler for the borders). The borders convey how shaky the world is for him.
I used this a lot in THE DREGS. In one of these pages, Arnold is high (so the borders are hand drawn) and the other he's sober (so I used a ruler for the borders). The borders convey how shaky the world is for him.
In this sequence, Arnold is the only one in the cafe who can see the myserious film noir woman. So she only appears in panels with a the extra border.
In this sequence, Arnold is the only one in the cafe who can see the myserious film noir woman. So she only appears in panels with a the extra border.
In this sequence, Arnold is the only one in the cafe who can see the myserious film noir woman. So she only appears in panels with a the extra border.
In this sequence, Arnold is the only one in the cafe who can see the myserious film noir woman. So she only appears in panels with a the extra border.
In ETERNAL, I used decorative panels to convey how much better the world is when Vif is with her son. The world is much more bland after her son is killed.
In ETERNAL, I used decorative panels to convey how much better the world is when Vif is with her son. The world is much more bland after her son is killed.
In ETERNAL, I used decorative panels to convey how much better the world is when Vif is with her son. The world is much more bland after her son is killed.
In ETERNAL, I used decorative panels to convey how much better the world is when Vif is with her son. The world is much more bland after her son is killed.
I also often make the panel borders diagonal during action scenes to show how unsteady the world is during those moments.
I also often make the panel borders diagonal during action scenes to show how unsteady the world is during those moments.
I also often make the panel borders diagonal during action scenes to show how unsteady the world is during those moments.
I also often make the panel borders diagonal during action scenes to show how unsteady the world is during those moments.
By the way, the first volume of HEART ATTACK is out in shops today. I'm pretty proud of it!
Oh, and here's one more example from HEART ATTACK. In this page, we discover Charlie is playing both sides. The reason the second tier is broken up is because I wanted to convey that there's two sides to him. Each panel gets it's own Charlie word baloon.
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