Can you name that song from Khalid’s newest album??
— Ashley Edwards (@ashedwardz) October 9, 2017
— Ashley Edwards (@ashedwardz) October 10, 2017
— Ashley Edwards (@ashedwardz) October 11, 2017
Balance: In this picture, the placement of the three objects is balanced across the composition with one in the forefront and the two smaller ones in the distance.
Rhythm: The repetition of the oranges creates a rhythm throughout the composition that would have been lost otherwise if there were other pieces of fruit incorporated into the baskets.
Color: The vibrance of hues is eye-catching to the viewer.
Dominance: There are a lot of interesting parts to this picture, but the pizza serves as the main focal point and dominates the page.
Looking into Hassan Otsmane-Elhaou’s in-depth research about design in various manifestations of comic books helped me see design in a whole new light. I’ve been taking art classes seriously since I’ve been in the sixth grade. There have been multiple discussions of aspects of design in our work and the world of art as a whole. I’ve used these principles in photography, digital art, graphic design, painting, drawing, film editing, flyers, posters, and the list goes on. Design is a huge part of what I do. Being able to apply these same skills in regard to the layout of comic books never crossed my mind but was quite exciting to see my previous knowledge applied in a way I never would have explored.
Not only does color grab one’s attention and create a more lively comic book, it can help with the transition of time/flashbacks, shifts in mood and other subliminal messages that help communicate the story.
Image and text placement also helps carry a story across the comic book pages. You need variation in marginal and box sizing to create interest from one page to the next. This keeps your reader from being bored. Text boxes also need to be deliberately placed. Not only does placement imply which character is speaking, but it can make a page more aesthetically pleasing if placed correctly.
Another part of design that is hard to capture is the ability to control movement. One way to do this is the eyesight of the characters in the panel. As you can see below, the way they’re all turned draws the reader to a certain point that’s off screen. The text in the shot also emphasized the commotion that’s going on in the background that will appear in the next panel.
One of my favorite movies of all time is Grand Budapest Hotel, directed by Wes Anderson. The characters M. Gustav H and Zero Moustafa, the lobby boy, have a quirky yet endearing relationship in the film. The awkward, crass, and dry humor peaks through especially in their use of language and dialogue. This quote is my favorite because it encapsulates everything M. Gustav stands for. He is a serious, jittery, yet highly intellectual man who gets worked up quite easily, only to say “oh, fuck it” and move on.
— Ashley Edwards (@ashedwardz) October 2, 2017
— Ashley Edwards (@ashedwardz) October 3, 2017
— Ashley Edwards (@ashedwardz) October 5, 2017
First ever picture of Kaleidoscope! She always rocks her white Go-Go boots, pink dresses, and colorful locks. Depending on her mood, Kaleidoscope changes her hair color. It’s natural color is shown above, including a few different shades of pink. All of her clothes are made with special technology that allow them to change colors with her body. Although she can also use her own powers to change them herself, especially when trying to blend into her surroundings.