Composition!

Putting the picture together!

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• Call it composition, call it layout, call it design—it all adds up to one vitally important point: you've got to put your picture together so that it's pleasing to the eye and it gets its message across clearly and interestingly. The one crucial rule you should never forget is—the simpler the design, the easier it will be for the reader to understand and enjoy it. Make your designs exciting, startling, powerful—but keep them simple.
• Let's consider the facing page. Next to three typical Marvel panels we've used shaded diagrams to indicate the simple, direct flow of the design.
• In each example, notice how the most important elements of each panel fall within the shaded areas. Though these areas seem to be abstract formations, they create unified pictures. The important elements are grouped together rather than scattered. These shaded areas, these prime shapes, are actually sensed by the artist as he draws. The shape is never drawn first, with the elements then squeezed inside of it. Rather, the picture is originally sketched out with the shaded areas taking form in the artist's mind. Sometimes, after a picture is drawn, too many important elements fall outside the basic shaded areas. In such instances, the artist changes his drawing until everything falls within a pleasant, unified mass.
• Once you train your eye to find such patterns, the most complicated picture will lend itself to similar analysis as soon as you look at it. As a matter of fact, let's turn the page and study some additional examples, bearing in mind that no two shapes are apt to be alike ...

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Another vitally important element of design is the so-called "camera angle." Obviously you, as the artist, can draw a scene from whatever angle you desire. You can look at a scene head-on; you can tilt the "camera" (the viewer's eye) upward, or down, or sideways, or any way you wish, just as a movie director can arrange his camera shots to suit his own taste.

As you can imagine, some camera angles are more dramatic, more interesting than others. It's your job to find the angle that will make the most of the picture you want to present, and then to illustrate it for your reader.

Here are three examples of different camera angles depicting three different scenes. Let's study them together for a moment.

Putting the picture together!

Dr. Strange is entering a room. It's a flat, simple, obvious camera angle. Nothing really dramatic or unusual about it.	Same situation, but by changing the camera angle see how the scene has a sense of urgency, of impending drama.

J. Jonah Jameson yelling at Peter Parker on the phone. Okay, but kind of blah.	Different camera angle. Now he really seems to be letting poor Petey have it!

Dr. Doom being his usual rotten self. It tells the story—nothing more.	New camera angle, new Dr. Doom-more menacing, more compelling, better layout!

• Let's play a game. Let's take a typical Marvel Comics situation—something that might happen in an AVENGERS story—and draw it in two different ways. The first set of drawings will be fair, the way any comicbook company might do it. The second set of drawings will be done in the mighty Marvel style. The fun will come as we compare the two versions and study the differences.
• On the facing page we present our first version—the way any average comicbook might present such a story. Let's take a good look and see what's happening ...
• As you can see, the page begins with some sort of nutty monster breaking into Avengers headquarters. Panel 2 shows the reaction of three of our heroes. Panel 3 shows Cap, Iron Man, and The Vision rushing to do battle with the intruder. Panel 4 has оl' Shell-head swinging at the big bad behemoth. In panel 5 the monster has grabbed and lifted Iron Man, about to do him irreparable bodily harm. And finally, panel 6 shows Cap and The Vision pondering their next move. Got the picture? Good!
• Now then, the set of drawings obviously tells the story well enough. We can see what's happening, and the characters are certainly recognizable. But* they're lacking in heroism, in raw drama, in sheer excitement. Most of the layouts are too vertical (too straght-up-and-down). The figures of the heroes are somewhat stiff and lacking in power and dynamism. Too many of the panels have all the main elements placed too neatly in the center.
• Well, we could go on and on. But it'll be easier just to turn the page and see how it's done the Marvel way!

• Now this is more like it! Look at panel 1—look at this close-up of the monster breaking in. He looks like a monster—he looks dangerous, menacing, super-strong and deadly. And we don't see our three heroes standing around in a corner of the panel like three simpletons. In panel 2, even though the action hasn't yet started, we get a feeling of movement, due to the placement of the figures, with Iron Man in front, followed by the others. It's not a simple, looking-straight-on panel. How about that panel 3! See the action, the drama, the feeling of power generated by our heroes! Just compare it with the one on the preceding page and we won't have to say another word. Panel 4, of course, shows Iron Man hitting our mirthful little monster the way a hero's supposed to—as if he means it! It doesn't look like he's a ballet dancer, as in the other version! As for panel 5, Iron Man is now far less stiff; he really looks like he's struggling to break free— and he still looks powerful enough to have a chance of doing it! Finally, in panel 6 the two Avengers are much more graceful looking, and the tilt of their bodies gives a feeling of far more urgency and excitement.
• You might also have noticed that the elements in each of these panels are not as evenly centered as on the preceding page. This gives a feeling of more movement and better design. And you must be aware that there is more variety insofar as the size of the figures is concerned. A panel is much more impressive when the figures are drawn different sizes. It gets dull for a reader to see characters who are pretty much the same size throughout the page.
• Now, we'll give you another two pages of the same type of thing. Without any comments from us, see if you can tell why the second version is infinitely better than the first. If you need a few clues, you'll notice more interesting and varied perspective shots, more variety in the size of the figures, and less emphasis on putting everything directly in the center of the panels. See how many other points of improvement you can find in the second version. It'll be good practice for you in training your eye to tell a fair layout from a really good one.