To the Rescue: What Comic Books Can Teach You About Design

Business.com / Marketing Solutions / Last Modified: February 22, 2017

Designers have much to learn from comic book illustrators. The art of saying a lot in just a few lines reminds us that less is more.

I can rant on forever about why comics are great. The combination of visual elements and text call to me. Plus, I am a sucker for a great hero. Better yet, a great villain.

In Scott Mcloud's Understanding Comics, he defines comics as "Juxtaposed pictorial and other images in sequence, intended to convey information and/or to produce an aesthetic response from the viewer.”  

A light bulb flashed on top of my head. Comic book artists have similar goals as designers. We both use images and other pictorial elements to convey information.

We both work to get specific responses from our viewer. I took some insight from this book and applied it to what I do as a designer.

We also implemented that very concept into our very own website design offer, currently featured on our homepage.

You'll find single images that speak so much more than one could fit into a paragraph. 

Related Article:Informative and Visually Appealing: 5 Important Website Design Considerations

Build Visual Vocabulary

Both comics and design utilize iconography and a set visual vocabulary to communicate an idea. Keep in mind,words are abstract icons. Words represent an idea, not what that idea physically looks like. Comic book artists utilize simplification to entice a response from their viewer. People respond to cartoon images versus realistic images through simplification. Smiley faces are so stripped down, anyone can identify with them.

Keep iconography simple to effectively communicate. The more and realistic an icon, the less effective it is. For instance, icons that include people with realistic features are not inclusive of everyone. A faceless and gender neutral icon can be you, me, or the next door neighbor. We all can identify. Work within a visual vocabulary of basic shapes to build simple but effective iconography.

Speak the user's visual language. Build on norms to communicate. For example, people associate a floppy disk icon with saving. I did not say all icons make sense, however, this norm can be utilized. Expand your vocabulary by looking at icon libraries, observing everyday iconography like street signs, and studying typefaces.

To take this idea further, design the rules of your visual language. Use these parameters as a jumping off point and reference throughout the design process. Work within a set photo style and color scheme. Choose a concept to consistently convey throughout the piece. Decide these parameters at the beginning of the process to build consistency. Never forget complication of a visual vocabulary takes away from ideas.

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Provide Closure

Closure is observing parts and perceiving it as a whole. This involves arranging elements so people can mentally connect the dots and complete your story. Both design and comics require closure. Great designs and comics do this well. When designing an interface, tell a story with a beginning middle and end.  Design elements to lead users through the story, similar to comic book panels. The user is a participant who dissects what is on the page and creates a new reality from it.

Give the user tools to move through this new world. Guide the user to what they need through composition and visual hierarchies to gain closure. Elegant design provides closure while presenting minimal information. When the user is allowed to complete information and connect the dots themselves, they identify with the design. Those connections allow the user to see themselves in the design.

Create Additive and Subtractive Work

Elements omitted from the comic, or design, are just as part of the work as those included. Japanese comics are known for using panels to build an atmosphere. The reader gets to know the reality through panels that move throughout the scene. Comparatively, western comics contain panels that are action based without depicting much atmosphere. Western comics do not wander much in terms of moving along the story.

Strike a balance by creating work that is both additive and subtractive. Add enough visual information to create atmosphere while subtracting enough to let ideas flow seamlessly. Use additive information to amplify meaning and not as a distraction. Less is more with design and comics.

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The next time you are busted for reading Batman at your desk, explain that you are learning about consistent visual vocabularies, providing closure, and creating additive and subtractive work. Think of yourself as a designer assigned to tell a brand's story.  We are working towards similar goals as comic book artists. Designers can learn a lot from the comic book profession.  

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