Page Layout Quotes

Doing graphic novels is cool! It's fun! You get to write something, and then see it visually page by page, panel by panel, working with the artist, you get to see it fleshed out.

Comics are expensive. Don’t make me resent the money I spend buying yours. Every single moment in your script must either move the story along or demonstrate something important about the characters — preferably both — and every panel that does neither is a sloppy waste of space.

At the very core of what a comic is, time and space are kind of the same thing. When your reader moves her eyes across the page, she should be moving through time in your story.

Interleaf is based on the formatting process.

With things like 'Dragon Ball,' in the case of fight scenes, I'd take the panel layout across two pages when the book is opened and alter it by angling them, and making them bigger or smaller, to give movement to the panels themselves.

When people use that stream of consciousness, it's kind of just a term they use for anything that looks slightly different on the page.

When writing for the page, the focus is on the design - how the words appear on the page. I try to make it as direct and simple as possible.

When I'm writing comics, I'm also visualizing how the story will look on the page - not even always art-wise, but panel-wise, like how a moment will be enhanced dramatically by simply turning a page and getting a reveal. It requires thinking about story in a way I never had to consider when I was writing prose.

We start out talking about the story, trying to figure out who is who and what should happen, taking notes the whole time. Then I do a rough layout of the issue, showing what happens on each page. Then we discuss that some more.

Anyone with a computer and a design program can create a page layout. But unless you're trained in design, it won't look very good and it won't communicate very well.

As an artist, as I design and lay out a page, the less-important things, things I want you to spend less time looking at, I draw them very small, maybe even silhouette them. The more-important pivotal scenes, I draw them larger, maybe even a double-page spread.

You can tell it's a poem because it's swimming in a little gel pack of white space. That shows it's a poem.

Some honor Cummings as the granddaddy of all American innovators in poetry and ascribe to him a diverse progeny that includes virtually any poet who considers the page a field and allows silence to be part of poetry's expressiveness.

When I write, I see the pages in my head, not the words.

When we design for non-Latin, we always aim to create a rhythm and texture that is sympathetic so when you have the two scripts running side by side, they create, ideally, the same tonal value on the page.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

But every page having an ample marge, And every marge enclosing in the midst A square of text that looks a little blot.

One thing I learned working at magazines was that if you couldn't get people to look at a page or a cover, then you were fired. It was all about how you create arresting works, and by arresting I mean stop people, even for a nano-second.

You shall see them on a beautiful quarto page where a neat rivulet of text shall meander through a meadow of margin.

I'm not particularly good at page layouts. I make an effort to stay out of the way of the artist. What I'll try to express instead is, 'What we're going for here on this page is the idea of the containment of these women's bodies. So I want them framed as though they're bursting out of the panel borders.'

I like the spreads - designing them is a welcome challenge - but for a dyed-in-the-wool page-a-day journeyman like me, it can be tough to leave a drawing unfinished at the end of the workday.

It's a great idea: to feel the rhythm of something by seeing how it flows on a page.

You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.

I'm really happiest living life 22 pages at a time and putting things in little boxes on pages.

For every issue, I send four pages of finished marginals and they select the ones they need.