How to Divide a Comics Page Row into Three Panels

Like it says up top, this is a short and easy tutorial about how to divide a row (or “tier” as it’s sometimes called) on a comics page into three equally-sized panels. Why am I writing about this? Because I was really surprised by the fact that a Google search for how to do this didn’t yield a quick tutorial on it… so hopefully this’ll get indexed and folks will find it useful.

Some background: The nine-panel grid, based on a grid of three rows of three panels each, used to be a pretty standard comics page layout back in the “golden age” of comic books. Look at an old Superman page and that’s pretty much what you’ll find. While superhero books have largely dropped this as their basic grid, you still see it used in “homages” like Watchmen, and in other genres of comics. For example, my first book for SLG, Farewell, Georgia, was entirely based on the nine-panel grid. Chances are at some point, no matter what type of comics you do, you’re going to need to divide some area into thirds.

Dividing an area into two panels is easy both mathematically (measure and divide that number in half) and on the page (just make an “x” from corner to corner, and the center is at the crosspoint). Dividing into thirds, though, can be trickier because of us Americans and our back-asswards insistence on measuring in inches, which don’t break down fractionally into thirds very well. Even using centimeters, you often wind up with things not dividing evenly. So what to do?

If you don’t mind drawing on that cheap paper that’s got a light blue panel grid already printed on it, you can use that; I think it’s got thirds marked on it. Personally, I’d just as soon try to draw on a Kleenex as use that stuff. So, usually what I do is work in a page area that’s designed to be easily divisible into both halves and thirds. So, for Midnight Sun, I worked at 12″ x 15″–both those measurements being easily divisible by two and by three. (Midnight Sun has an unusual trim size. For a “standard” comics page shape, I do 12″ x 18″ which also works well.)

Sometimes, though, you just gotta deal with an area where the measurements just won’t cooperate and divide equally. Here’s how you do it:

First, here’s our area I’m going to divide into thirds, shown in light blue dotted lines.

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1) Take the area you want to divide into thirds, and divide it into halves using an “x” drawn from each of the corners. Make a vertical line at the center-point, dividing the area into halves.

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2) Now draw a diagonal line connecting each bottom corner to the top corner of each half-area you created in step one. (Works in reverse, also obviously.)  Draw a vertical line at the points where these new lines intersect the lines you drew in step one. The three sections you’ve created by doing this are equal widths.

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3) Finally, give yourself some gutters and you’re done! (Technically, the center panel will now be very slightly thinner than the two outer panels because it’s had a bit lopped off from both sides to create the gutter, whereas the outer panels have had only their inner-facing sides docked… but, hey, it’s close enough for me.)

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Polar Bear Attack!

Folks over at the Blog@Newsarama Fringe Benefits column, did a nice review of Midnight Sun, and gave special mention to the encounter one of the characters has with a polar bear in the book.  Since drawing the page they sample there, I—like a lot of folks—have been following the “career” of Flock the baby Polar bear… you know, ‘cause he’s so darned cute.  Unfortunately, though, the time I’ve wasted looking at the adorable beast has made me realize that in my drawing I’ve shorted the bear a couple of digits.  Who knew polar bears had such strange feet, with no real thumb equivalent like a dog’s dew-claw?  This should distract you from any further contemplation of my anatomical cartooning gaffs:

Comics Terminology: “Alternative,” “Indie,” etc.

This question was posted over at the Indie Spinner Rack message board:

What’s the definition (if any) of the various terms such as Independent, Small Press, Alternative, etc. What do you call companies in Previews outside of the Big Four (DC/Marvel/Dark Horse/Image)? Outside of the Established (Fantagraphics, Top Shelf, Drawn & Quarterly, Oni, AdHouse, etc)? What about those creators going through Ka-Blam and ComixPress? Where do mini-comics fit in?

Here’re my thoughts on the matter, which I posted there:

I’ve always found terms like “independent,” “mainstream,” “alternative,” etc. to be problematic because in using them, one is attempting to describe two different things at the same time–things which may or may not bear any real relation to one another. Specifically, when these terms are used, folks are often trying to describe (1) the narrative content of a comic, and (2) the publishing model of a publisher. When someone says something is an “independent comic” (or whatever) what they’re usually trying to put forth is that that comics subject matter is not something like superhero stories. But they’re also trying to describe how that comic is published–what its circulation is perhaps, or whether the creators own the stories and characters.

The problem is that these really don’t necessarily relate to one another. Is “Jack Staff” an “alternative” book? It’s creator-owned… but it’s a superhero book. Is “Swamp Thing” a “mainstream” book? It’s published by DC, but it’s not superheroes. Etc…

I’ve always found it more useful in getting across what you mean to simply take them each individually.

Regarding a book’s content, why don’t we comics folk (like regular old prose book people) simply refer to it by genre? Is it a crime book? A fantasy book? Non fiction? Character Drama? Historical fiction? Autobiography?

Likewise, if what you want to do is describe the publisher, then do that. Is the publisher a corporate publisher who does work-for-hire stuff like Marvel or DC? Is it a publisher who does more cooperative creator-owned stuff like Adhouse or SLG or Fanta? Is it something in between like Image?

The only time this stuff gets contentious it seems to me is when you try to use one term to describe these two different things.

“Rent” Party for Comics Artist Craig Hamilton

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I got a ginormous long email this morning from friend and comics artist Craig Hamilton, but I’ll condense it for you here: He’s been renting a cool house that he loves in downtown Macon for years, and now he wants to buy it.   So, he’s having a “rent” party, but instead of rent money, he’s trying to get enough money together to put the wheels in motion to buy the house… and instead of the traditional rent party keg o’ beer, he’s got artwork to sell.  Says Craig:

I have roughly a thousand 11×14 Conan “Stranger In A Mirrored Glass” prints which I am selling for $25 each, and the 20×26 Peter Pan and Wendy prints are printed to order for $50 each.

Craig’s also got a ton of stuff posted over at his ComicArtFans.com gallery.  It doesn’t look like there are prices listed for that stuff, buy you can email Craig about those pieces, or about commissions, at anonymouseye [at] bellsouth [dot] net.  If you’re in Macon, the get-together is on Thursday, 7:00 pm, at Craig’s house on Cherry Street.

(The above two-page spread is from Craig’s ill-fated Peter Pan project, the rights to which he says may finally be reverting back to him–so maybe we’ll get to see it in print at long last.)

More Midnight Sun Reviews

Lately, I’ve been using the occurrence of each new review of Midnight Sun as an opportunity to talk about my comics-making process.  I’m currently under the gun to get my pages for the WAP Free Comic Book Day issue done by the end of the month, so I’m just going to post excerpts and links to these two.First, here’s one from a while back, posted to ComicsFondle.com:

Midnight Sun ends so nicely, it’s going to be hard to go back and talk about the beginning. The beginning is good too, but at the end, Towle resists a decidedly American urge and sets Midnight Sun apart. It’s better than I expected–Towle has an excellent understanding of pacing–but the ending makes the comic almost… well, French, actually. The ending makes Midnight Sun a comfortable amalgam of American storytelling and French narrative sensibility. It’s a lovely close. (Read the whole review…)

And just posted over at St. Louis’s PlaybackStl.com:

Now that the full story has been collected in print for the first time, it is definitely worth seeking out. The rich storytelling found in this story make it resonate despite any minor historical inaccuracies, and the creative liberties Towle takes with the story only serve to help the reader understand the circumstances better. (Read the whole review…)

Also, note on the front page that there’s an interview with fellow SLG-er Evan Dorkin, of Dork, Milk & Cheese, etc.