‘Ha ha….for a while I forced myself to do each page layout five different ways – it was tedious, but it did force me to be inventive about how I laid out the information I was trying to present. Ellen Lindner, Mentor.
‘Use old paintings for ideas for composition. The old masters are called old masters for a reason.’ Isabel Greenberg, Intern.
‘Composition and colour are important. Think about the hierarchy of information – what needs to be seen first? Scale can also be striking – making images/comics on a tiny or huge scale.’ Freya Harrisson, Intern.
‘If you have any I’ll be glad to hear them. Just trial and error I suppose.’ Abraham Christie, Intern.
‘I’m not a particularly striking kind of chap. But I’ve heard looking at compositions in mirrors/backwards can help you pinpoint what the most eye-grabbing elements of your image are.’ William Goldsmith, Intern.
‘For characters, try posing them in ways that are more interesting than just standing or sitting. Put them in a situation, like a fight or a discovery, and they’ll come to life. For layouts, try using shapes other than rectangles to frame your panels, and mess about with your choice of camera angles.’ Jade Sarson, Intern.
‘Teach yourself to draw from life – even if you’re not making a “realist” comic – this will reinforce everything you want to draw and underpin it with believability. Be bold with your choice of media and technique, even – especially – if you’re inexperienced. If everyone expects drawings made of lines, build up an image from only colours; if everyone expects you to start with pencils, go straight to pen. If everyone expects a comic on paper, draw a comic in chalk on the pavemen.’ Lily-Rose Beardshaw, Intern.