• Name :-Soumyajit Dutta

• Roll Number :- 28999521058

• Program :- BMAGD
• Semester :- 03
• Paper Code :- PCA1 (392)
• Subject :-Visual Narrative & Sequential Structure
 ACKNOWLEDGEMENT
• I would like to express my special thanks to Arun Kumar,
Sr. Faculty of Ilead, who gave me the golden opportunity
to do the wonderful project on Visual Narrative &
Sequential Structure (Paper Code PCA1-302) which also
helped me in doing a lot of Research paper and I came to
know about so many new things I am really thankful to
him. Secondly I would like to thank my parents and
friends who helped me a lot in finalizing this project
within the limited time Frame and make my project a
success.
Visual Narrative & Sequential
Structure
 Introduction to comic page
• Comics studies is a field of academic research focused on comics and
sequential art, including comic books, comic strips, cartoons, graphic novels,
animation, digital media, and film.
• Comics studies can include the theory, history, philosophy, aesthetics, or
cultural relevance of comics, as well as the industrial production,
marketing, and collection of comics or comic art. It may draw on
scholarship from a broad range of disciplines including history, literary
studies, media and communication studies, art & art history, sociology,
linguistics, philosophy, business & marketing, library & information science,
or legal studies (particularly in regard to first amendment & censorship
issues).
• Since the 1990s, comics studies has developed into an active field of
scholarly research, with a number of books, journals, conferences, and
programs devoted to the topic.
• On the following pages, you'll find resources for scholars, students,
librarians, comic creators or collectors, and others interested in the study of
comics and related art forms.
 PANEL
• Inflected Panel
An inflected panel has innate context and
meaning, and may be able to stand on its
own, without text, as part of the story. An
inflected panel frequently features the
characters engaged in some sort of action,
particularly if the action has importance
to the story, such as one character
pointing a gun at another.
Uninflected Panel
An uninflected panel has no set meaning
or context without the dialogue or
narration. It could be a shot of a hand
reaching for a doorknob, or a vase of
flowers- the text gives the shot context.
 Panel
• Panel
• A single illustration on the comic page, usually bordered by gutters or heavy black
lines.
 Scene

• Scene
• May be several panels, or several pages,
depending on the comic. A scene is a discreet
unit of the story whole.

• one of the subdivisions of a play: such as. a : a

division of an act presenting continuous action
in one place. b : a single situation or unit of
dialogue in a play the love scene.
 Comic text bubble
• The visual tool used to represent the speech, dialogue, or
conversation of the characters in the comics is called “bubble”.
The meaning of speech bubbles in comics will be addressed, with
emphasis on their proper use and comics grammar.
• One of the most important parts of comics is character dialogue.
It is one of the features of comics and it is as valuable as the
images themselves. They are a great support in the narrative
within the comics.
• As part of the visual language of comics, bubbles are small
expressions in themselves, with their own meaning. They can
communicate in a situation or context. Therefore, it is important
to know the meaning of speech bubbles in comics to know how to
express emotions in a dialogue, nature, the source of the speech,
and sounds, for instance.
Example of text bubble
 Steps of making a comic page
• 1. Choose an idea you believe in
• With all the serial content being created online and in print, your creative
vision is what sets you apart. Start with an idea that you strongly believe in.
Starting a comic book requires a significant time commitment, so you want
to make sure you have enough interest in your characters and storyline to
see your project through to the finish.
• The brainstorming phase looks a little different for everyone, but you can
expect your original idea to evolve a bit as you’re just getting started. Be
sure to keep a notebook on hand to jot down dialogue, sketches, and story
ideas when they come to mind.
• 2. Write the story first
• As tempting as it may be to jump right in and start drawing for your comic
book, try not to get ahead of yourself. You know from reading your
favorite comics that creating a solid storyline is crucial. The text drives the
visual action and fills in key plot details and character traits.
• Research the craft of making comics
• You may feel like you’ve consumed enough comics to know how to make your own.
However, there is always plenty to learn from more experienced illustrators. In
between your own creative work sessions, read books, interviews, and blogs by
your favorite comic book creators to discover their tips and techniques. For each
step in this guide, you can find all kinds of in-depth tutorials and advice for artists
that are new to comic book creation. Use these resources as teaching tools and
inspiration whenever you find yourself getting stuck.
• You can also do research from your own bookshelves. Think about what draws you
to a particular comic series, and study it from a creative and technical standpoint.
Notice the decisions the artist made regarding layout, drawing style, color,
character, and story. Understanding which elements you find intriguing or effective
in another person’s work can help you develop your own skills and style.
• 4. Plan the layout
• You’re almost to the actual drawing phase (promise!), but the focus here is to work out the composition of each
comic book page and the overall flow. Most comic book artists use thumbnails (very rough sketches of each
page layout) to see if the content works.
• You want to make sure the text and illustrations fit each panel, while also creating momentum in the story to
keep readers interested. Does the dialog work? Is the action clear? Is there too much or not enough happening
on each page? Too much text, or too little? Think about how you might create suspense at the end of a page so
the reader is compelled to keep going.
• If you find problems in your first round of thumbnails, simply toss that page out and create a new sketch. This
part of the creative process can involve a lot of trial and error—that’s ok! It’s always better to figure out how
the story progresses before you spend time inking and coloring your comic book drawings. Otherwise, you’ll be
setting yourself up for potential frustration later.
• The more you draw, the better you’ll get at determining how to sequence your panels and when to make cuts.
For now, if you’re just starting out in the world of comic book creation, stick to simple layouts. Leave the
complicated compositions for a future project when you’ve acquired more skills.
• 5. Create a set of rules for drawing
• One recommendation from experienced comic book artists is to establish a consistent style of illustration that is
doable and efficient for the scope of your project. That could mean assigning specific textures, shading, or
coloring effects to certain characters or backgrounds. Or you may decide to limit the number of frames per
page. These are your personal guidelines to create visual continuity and to avoid making drawings so complex
that you cannot replicate the look and feel.
• For beginners, it’s especially important to know your strengths and master the drawing techniques you’ll be
using before getting too far along with your comic book. You don’t want to be learning the basics or trying to
draw figures you’ve never attempted before while also making your first comic. That is a recipe for slow,
frustrating work sessions! Also, if you experiment too much while creating your comic, the evolution of your
drawings will show in the finished version. The first few pages will look drastically different from later panels,
where you’ve perfected your style.
Thank you