Using images from various styles of graphic literature, author James Davidge outlines how layout and design of a comic book page has subtle emotional affects on the reader. Developing an awareness of this impact can allow one to enhance storytelling. For more information on James Daviege, please visit http://www.jamesdavidge.blogspot.ca/

1. The Psychological Space of
Comics
by James Davidge

2. An image can
make us feel
trapped...
Bob Layton, Secret Wars #4, 1984

3. …unstoppable…
Alex Ross after Mike Zeck, Secret
Wars, 2008

4. …and conflicted.
David Mazzucchelli, Asterios Polyp, 2009

5. Every comic page is a layout of panels that
provide structure, pace and mood.
Chris Ware,
Jimmy Corrigan,
2000

6. Movement can be
jarringly simulated.
Panel shapes can
contrast. Borders
changing to
communicate
different states.
Art Spiegelman, In the
Shadow of No Towers, 2004

7. Tensions can be
developed with
an intricate page
design…
George Pérez, Artist
Marv Wolfman, Writer
Crisis on Infinite Earths # 6, 1985

8. …angles can be
manipulated to
force perspective
and heighten
emotion….
Stephen Bissette& John Totleben, Artists
Alan Moore, Writer
Swamp Thing # 21, 1983

9. …while stresses
can be relieved
with a classic
splash page.
Phil Jimenez, Artist
Geoff Johns, Writer
Infinite Crisis, 2005

10. Don’t forget the double page spread for special occasions.

11. A gentle reminder:
Scott McCloud,
Understanding
Comics, 1993

12. A few techniques:
repetition words
only
empty close
space
up
Keith Giffen,
DC Comics Presents #81,
1983

13. and innovation.
J.H. Williams III, Artist, Alan Moore, Writer,
Promethea #15, 2001

14. Cover Images
Will Eisner, The Spirit “Fox at Bay”, 1949
Roy Lichtenstein, In the Car, 1963
Double Page Spread
Jack Kirby, The Forever People #1, 1971
To learn more about the prose and comic work of James Davidge, please visit:
www.jamesdavidge.blogspot.com