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The first page of a work is one of the most crucial pages you can do! It sets the tone for the art style, for the feel of the story, and the type of characters in it.

I've read a lot of crap comics that start out with a page of text exposition and that just shuts my brain off immediately. Don't start with a text wall. You can start slow and establish your setting and ramp it up from there, you can start with a character or group of characters interacting, or you can start (as I did here) in the middle of the action, aka in media res. Regardless of the specific mode of attack, I generally prefer to write things that I find interesting... I figure if I enjoy drawing and looking at it, the audience will probably enjoy reading it too.


Anyways I drew out page 1 and then scrapped it as soon as I was done, haha (that sucked). The bottom panel was technically where I wanted it but "just okay." I didn't feel anything strong about it and that is usually a warning sign to me... Here are some reasons why I ended up redrawing

  • Too much eye movement on the page. The greater the amount of eye movement, the greater the "active feel" of the page. However, this scene is heavy. It should feel like a rock, not like a leaf fluttering around. This isn't a decision made based on quantifiables; it's more about a gut feeling and how you want your reader to react and form expectations. Anyways, you see that I went from a zigazg to a very simple 3 panel drop down. This line of read mirrors both the rope drop from the ceiling, and the heavy quality of the content.
  • Lack of focus on the final panel. When there isn't another object called out, people will tend to look at the faces. Here I have two objects to establish clearly, however; the note and the main character (and rope). The note is established in the previous panels so if I had to push it, I'd say Mike should be the focus. The problem is that the paper does not read well next to the wall like that (I gave a lot of negative space around it to try and push with colors, but that still seemed a little jank). If I push it too hard it might look like the primary object. Overall, with the inclusion of a word bubble to link the line of sight with the paper, it would have been pretty much a balance between the three elements (paper, mike's face, word balloon), which is not ideal. The fixed panel has Mike being an unavoidable fixture of the panel. Because he is so prominent, the paper becomes the clear secondary read, and with the corrected flow, it seems like a natural link to the first 2 panels as well.
  • Lack of establishment. In the first draft, your eye gets stuck between Mike and the paper and the bubble (not shown). So you'd probably end up looking diagonally between the three because the link would be so strong. Very hard to break free and notice anything else. In the correction, your eye goes from Mike to his bubble, then the paper. Because the three elements are so central, you feel pretty secure that you read everything correctly the first go through and your eye will naturally escape the bounds and go roaming around the room. Then you see the bed, cabinets, etc. Much better!

The fun part about making comics is that I think about this stuff with every single page but... you probably do not know. My job is not just to tell the story or draw the pictures, but to guide your eye to the parts that you need to be looking at, and not distract you with frivolous visual noise*. The end result is, ideally, a story that reads cleanly and also gives me a lot of room to lay down "invisible" hooks and surprises that will only become evident on a second or third read. This it the kind of story that I most enjoy reading, and hopefully the kind of story that I get to make for you :]




*one last bit of excised visual noise... I deleted the wrinkly tarp Mike is sitting on in the original first page, since I thought it would be pointlessly confusing without an editors note. But that was a waterproof surface Mike laid down in case of waste "release" that can happens with hanging, for easy cleanup for whoever would find him... a little morbid. A thoughtful guy to the end, I guess.

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Comments

Lo0bo0

Thanks for the advice, have nevr tought of it really, it kind of makes sense, thanks

Mossthewolf

Thanks! This is super helpful for me since a lot of the time, I had no idea how to make important parts of the visual narrative more prominent. The idea of helping guide the eye is something I never really think about.

Brian Slattery

This is really interesting-- talking about composition across a whole page (and how it ties to eye movement, mood, etc) rather than just within one panel. I'd love to hear more about your thoughts/analysis of previous pages, or if there were anything you've read that helped illustrate these ideas (any comics with particularly good handling of panel-to-panel composition?).

Der-shing Helmer

Thanks! Glad you found it interesting, I might do more in this vein :) Well, most of the great comics you'll read will have great composition; if you didn't notice it, then it's probably effective. I usually whip out Rufftoon's work or the comic Skydoll, since they are my direct influences, but you might have a different set of inspirations. To be honest though it is probably more useful to break down "bad" comics (webcomics are great for this) when you find them... breaking stuff down and thinking about it in a critical way is much more practically useful than analyzing good things, which can be somewhat "opaque." I'd post some of the analyses I've done but that would be a social faux pas, so I can't XD

Mossthewolf

Thank you! I recently got a job so now I can be a patron to you- something I've been wanting to do for a while, but that's beside the point. I've been spending all day looking at all the patron-only extras and not only do I love the comics (especially The Untimely Death of Smokey II) but I also find the tutorials very helpful. I stopped comics because I was having way too hard of a time laying them out. I've been meaning to get back into them and these tips certainly help!

Javier Dehesa

So much wisdom. And, I mean, I'm sure you've read like a million comics, and books about comics, and everything, but I still get the feeling that these are the kind of things that you know how to identify because you are so darn good and have been drawing stories for so long. Like, there is no list of "definitive" guidelines to make things right, but just, as you said, your gut.

Ofeila Eneroth

I love this!! It's so informative and insightful and really hits home on articulating some of the more subtle and abstract aspects of visual storytelling! It's also very inspiring to see how you really go all the way and even scrap an "okay" page with finished lineart in favor of something that takes it a step further. Your whole approach is really something to aspire to. In conclusion I loved the thumbnailing tutorial and I loved this. Keep up the good work! :D

Der-shing Helmer

lol, I have read a million bad webcomics and very few good comics, to be honest. I don't have a lot of formal training; most of my information comes from hating on things in very directed way. The more you can articulate why you don't like something, the more you will nudge your own work to follow the standards you have defined during that process.