Graphic Novel Design

Definition

Design determines the rhythm of a graphic novel, creating a synthesized narrative that combines visual and written modes of storytelling. The design similarly determines the pacing and mood of the work and provides the reader with a powerful reading experience not available through other media.

Introduction

Design is a critical factor in the creation of a graphic novel. A comprehensive design permits the seamless blend of written and visual narrative characteristic of sequential art. Graphic novel design creates an experience that is unlike written or visual media for the reader. This format

also can dictate the mood of the work through its unity of text and visual components. In many ways, the design of each graphic novel is customized to the needs of its narrative and builds upon the strengths of its illustrator and writerwith a design customized to suit the artistic vision of the creators, a graphic novel would likely be fully appreciated by its audience.

Designing a graphic novel is a complex process that ultimately adds to the language each graphic novel embodies, thus creating a unique literary experience. The overall design language comprises several components, including paneling, spacing, and timing. Such factors determine the mood and pace of the piece. The comprehensive sense of time dictated by the spacing in a graphic novel allows for a new layer of emotional development. In contrast, spacing between and in panels adds to the narrative's drama. These elements must function together to create a compelling graphic novel.

The Function of Sequential Art

Graphic novels offer the reader the combined experience of a visual and a literary medium. The sequential nature of the art is crucial to creating a successful graphic novel. The images within the novel must not be static illustrationsinstead, they must flow with the narrative. This provides continuity in the narrative and, ultimately, the entire novel. Even though the illustrations are simply static images, the fact that they are followed by images that advance the narrative makes it possible for them to appear fluid. The spacing between the frames, called the gutter, helps to create this flow. These in-between spaces activate the reader, increasing their emotional investment in the work. To maintain the workflow and provide a full sensory experience, the novel's creators must weave the sequence of images and narrative together.

The production of graphic novels involves interweaving the talents of many individuals. For example, a team of people creates the text and art. The design must merge multiple modes of storytelling and creative styles. Design utilizes the strengths of both written and visual media to create a cohesive work that effectively conveys a coherent narrative. Creating time in motion is complex, and the sequence of the images is essential to this process.

Framing and Panels

Framing allows the creators of a graphic novel to capture particular moments for the reader, permitting them to dictate the importance of any given scene in a narrative. Single moments can be given more weight when depicted within a stand-alone frame, forcing the reader to contemplate only the words and images within that single frame. The novel's dialogue is sometimes suspended in such frames to reinforce the action within the specific moment. Conversely, panels function to set the pace of the narrative. A series of panels in a graphic novel develop a smooth transition from one idea to the next. This fosters a sense of movement throughout the still images that aids in creating a narrative pace and mood in the work.

The creators' framing choices inform the reader of what is essential in the narrative. For instance, if the illustrator captures small moment-to-moment actions, such as a panel-by-panel zoom-in, the framing builds anticipation for the reader. If the illustrator chooses to display the narrative through active frames that depict action scenes, the work takes on a different pace, and those moments become more important.

Some graphic novels feature a unique design that changes the mood of the work. Joe Kubert's Dong Xoai, Vietnam 1965 (2010) abandons the typical design structure of contained, framed panels. Instead, Kubert uses powerful line work and a strong narrative to direct the reader from illustration to illustration. In this case, the lack of framing allows the reader to feel a lack of security akin to the soldiers in the narrative. By not including a clearly defined direction through paneling and framing, Kubert's design has a powerful and lasting emotional impact on the reader.

Timing and Spacing

Designing a work of sequential art requires careful spacing, allowing the work to develop a mood and timing synchronizing with the narrative. The timing dictates the buildup and release of tension within the graphic novel. It makes the images energetic, losing the stagnant feel that still images inherently possess. In many ways, developing a sense of time within a work infuses the narrative with reality. Time is real for the audience, and seeing its passage in a graphic novel fuses the reading experience with all the human emotions attached to the concept of time. Once the concept of time has been established in a novel, the reader can travel with the protagonist through memories and dreams with little confusion.

Unlike other narrative art forms such as literature and cinematography, graphic novels have the ability to mold the time that elapses. The form permits the creator to interact with the reader by creating emotional stress between and within panels and frames. That emotional buildup creates a richer narrative experience because the reader develops a personal emotional response unique to their own experience with the work, becoming invested in the graphic novel's storyline.

Impact

A seamless design is necessary to unify the author's written narrative and the artist's aesthetic vision to create a graphic novel. Both components serve each other, allowing the graphic novel medium to exist. Creators must combine several design elements with the narrative to create the illusion of movement, time, and space. Will Eisner's series The Spirit, first available in the 1940s and early 1950s, serves as an early example of creative design in sequential art, rejecting the typical style of page composition that had existed previously. This series forever changed how artists and writers understood their mediumthe page was no longer stagnant, and the rigid confines of page structure were beginning to bend. Such innovations from the Golden and Silver Ages of comics made it possible for Modern Age works such as John Layman's Chew (2009- ) and Neil Gaiman's Sandman (1989-1996) to include creative use of design. Changing the design structure by breaking, merging, and bending the panels creates a new sense of movement that the rigidity of square panels could not offer. The design has evolved within the pages of graphic novels to serve the narratives as they transform with their content.

In the 2020s, multiple innovations reshaped the genre of graphic novels. The most significant was the predominance of digital formats for most productions. Graphic novels now had to be designed for consumption on electronic devices such as smartphones and tablets. Accessibility likewise shifted with mediums such as apps serving as distribution platforms. Digital formats also allowed for previously untapped creative aspects to be incorporated. These included animations, sound effects, and interactivity. The study and production of graphic novels became an academic discipline, with many universities and trade schools establishing programs to cater to emerging changes.

Bibliography

"Comics & Graphic Novel Research Guide: Selected Journals." DePaul University Library, libguides.depaul.edu/c.php?g=967024&p=7863716. Accessed 12 July 2024.

Duncan, Randy, and Matthew J. Smith. The Power of Comics: History, Form and Culture. New York, Continuum International, 2009.

Eisner, Will. Comics and Sequential Art: Principals and Practices from the Legendary Cartoonist. New York, W. W. Norton, 2008.

Hernandez, Elvis. "The Future of Comics: Navigating Trends and Innovations in the Industry." ToonsMag, 31 Jan. 2024, www.toonsmag.com/the-future-of-comics. Accessed 12 July 2024.

McCloud, Scott. Understanding Comics: The Invisible Art. New York, HarperPerennial, 1993.