A Quote by Neal Adams
I changed the layout of comic books in general. When I came in, layout design wasn't really part of what you did. It was all just panels, panels, panels. So when I came in, I thought, 'Nah, let's change that,' and I designed the page.
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The form of my painting is the content. My work is made of single or multiple panels: rectangle, curved, or square. I am less interested in marks on the panels than the 'presence' of the panels themselves. In Red Yellow Blue III the square panels present color. It was made to exist forever in the present; it is an idea and can be repeated anytime in the future.
In a 22-page comic, figuring an average of four to five panels a page and a couple of full-page shots, a writer has maybe a hundred panels at most to tell a story, so every panel he wastes conveying a.) something I already know, b.) something that's a cute gag but does nothing to reveal plot or character, or c.) something I don't need to know is a demonstration of lousy craft.
I think, in a lot of places, the solar panels are a badge of honor; they're trendy. If you go to Hawaii or Japan, people even install fake solar panels because it's cool and it's popular. And so I think solar panels have gotten a lot more attractive. They're sleek, black, they look good on a roof.
On Apollo 11 in route to the Moon, I observed a light out the window that appeared to be moving alongside us. It was either the rocket we had separated from, or the 4 panels that moved away when we extracted the lander from the rocket and we were nose to nose with the two spacecraft. So in the close vicinity, moving away, were 4 panels. And i feel absolutely convinced that we were looking at the sun reflected off of one of these panels.
With things like 'Dragon Ball,' in the case of fight scenes, I'd take the panel layout across two pages when the book is opened and alter it by angling them, and making them bigger or smaller, to give movement to the panels themselves.
I'm sponsored by the solar company Goal Zero, and they were gracious enough to install panels on my van and a nice battery system for the inside. I have lights and a fridge inside the van. And of course I had panels installed on my mom's house.
When you're writing TV or movies your vernacular is time, it's all based on rhythms, a character takes a beat or two characters have a moment, like everything is about time. And when you're writing a comic, everything is about space. It's how many panels to put on a page, when should you do a full page splash, what is the detail that you see in any particular image.
SAT tests are designed by huge panels of experts in education and psychology who work for years to design tests in which not one single question measures any bit of knowledge that anyone might actually need in the real world. We should applaud kids for getting lower scores.
In film, you have the luxury of accomplishing what you need in 24 frames every second. Comics, you only have five or six panels a page to do that.
Anyone with a computer and a design program can create a page layout. But unless you're trained in design, it won't look very good and it won't communicate very well.
There is no recipe for good layout, what must be maintained is a feeling of change and contrast. A layout man should be simple with good photographs. He should perform acrobatics when the pictures are bad.
With each of those projects I wasn't thinking about how the layout would really affect the story I was working on - it wasn't the content that was affecting the layout, it was, how I wanted to draw at that point in time.
It's really kind of cool to have solar panels on your roof.
We came to the house, and it is an old house, full of great chimneys where wood is burnt on ancient dogs upon the hearth, and grim portraits (some of them with grim legends, too) lower distrustfully from the oaken panels of the walls.
I drive a hybrid, and we've changed our light bulbs and windows and installed solar panels and geothermal ground source heat pumps and most everything else.
With each of those projects I wasnt thinking about how the layout would really affect the story I was working on - it wasnt the content that was affecting the layout, it was, how I wanted to draw at that point in time.
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