Form
There are two major styles used in newspaper comics, single panels and strips. Single panels usually, but not always, are not broken up and lack continuity. The popular Dennis the Menace and The Family circus are both single panels. Strips on the other hand are generally longer and shaped into a rectangle. Strips include Peanuts and Garfield. J. R. Williams' long-run Out Our Way continued as a daily panel even after it expanded into a Sunday strip, Out Our Way with the Willets. Jimmy Hatlo's They'll Do It Every Time was often displayed in a two-panel format with the first panel showing some deceptive, pretentious, unwitting or scheming human behavior and the second panel revealing the truth of the situation.
Early daily strips were large, often running the entire width of the newspaper, and were sometimes three or more inches high. Initially, a newspaper page included only a single daily strip, usually either at the top or the bottom of the page. By the 1920s, many newspapers had a comics page on which many strips were collected together. Over decades, the size of daily strips became smaller and smaller, until by the year 2000, four standard daily strips could fit in an area once occupied by a single daily strip.
NEA Syndicate experimented briefly with a two-tier daily strip, Star Hawks, but after a few years, Star Hawks dropped down to a single tier.
In Flanders, the two-tier strip is the standard publication style of most daily strips like Spike and Suzy and Nero. They appear Monday through Saturday; until 2003 there were no Sunday papers in Flanders. In the last decades, they have switched from black and white to color.
Read more about this topic: Panel (comics)
Famous quotes containing the word form:
“Who among us has not, in moments of ambition, dreamt of the miracle of a form of poetic prose, musical but without rhythm and rhyme, both supple and staccato enough to adapt itself to the lyrical movements of our souls, the undulating movements of our reveries, and the convulsive movements of our consciences? This obsessive ideal springs above all from frequent contact with enormous cities, from the junction of their innumerable connections.”
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