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Superficially, the pages of both tend to convey information in similar ways: But is there a more fundamental way that we can understand each? In this post, I will look at how we read both architectural drawings and comics, based on my own understanding of how each works.
Rather, I will be taking a rather narrow look at architectural working drawings, and the commonalities and dissimilarities they share with comics.
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I will also not be considering single-panel gag strips, as it is really the act of reading a page of comics that I am interested in for the purposes of this post.
Site Plan and Floor Plans: The Wolf Residence, by Barton Myers Note that these architectural sheets are not from a construction set; rather, they are the metric system instructional drawings from Architectural Graphic Standards, and thus differ slightly from contract documents How We Read Architectural Drawings.
From a plan point of view, this usually entails starting with the site plan, then the building plan, plan enlargements, and plan details this ordering system also applies to sections, as well.
The benefit of this approach is that it allows the designer to identify important building elements that are focused on in more detail with each subsequent enlargement. It is also possible to indicate elevations or sectional details on plans, and vice versa. This is accomplished with a variety of identification tags and bubbles, conventional symbols that guide the reader to the appropriate page.
Plan Enlargements, Interior Elevations, and Details from the Wolf Residence These pages are laid out in a grid of discreet drawings, each marked by an identification tag that marks the destination from the tags on the building-scale sheets. The smaller the scale ie. Thus a site plan usually appears by itself, while details can be twenty-four or more to a page.
A page of details is a holistic field of drawings, with no one frame given more weight than any other; this allows the casual observer to jump in at any point and understand that part of the building, while simultaneously denying them the opportunity to construct a narrative from the panels.
Architectural details from the Wolf Residence Unlike comics, architectural drawings cannot function as illustrations alone. Text is always required on these sheets, though it is necessarily descriptive, not narrative in nature. These notes call out materials and processes ie.
How We Read Comics Comics are, at their essence, a series of composed iconic pictograms organized in such a way as to allow a third party to mentally construct a narrative. As mentioned earlier, comics share some general organizational principles with architectural drawings: A page of comics typically adheres to a strict grid of individual drawings bounded by panel borders and separated by gutters negative space between the frames.
The direction of reading and the shape of panels need not be consistent as long as the narrative thrust is clear to the reader. Indonesian narrative scrolls that function like comics Body World, by Dash Shaw But how do we know how to read a comic?
We seem to inherently want to read panel-to-panel in the same way we read prose: Navigating a comics page is a learned skill, one that is arrived at through trial and error often as a child, desperately trying to decipher a page of Bone or Tintin.
And how are we able to interpret the pictograms on the page: Perhaps this too stems from our childhoods, and our own artistic inability to accurately depict the world around us; with our unskilled hands, we can only illustrate an over-simplification of what we see with our eyes.
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