The thing about square panels is that once you place the text at the top it becomes more of a landscape ratio, I find. I consciously hewed to a six-panel (square panels) grid in the late 1980s just to get my storytelling under control. Too much Sterankoid shattered-glass page layouts becomes confusing and a waste of time to design properly. I found that by concentrating on what went into each panel instead of finding the right-shaped panel to surround each image was conducive to stronger, clearer storytelling and saner sanity. Constraints are good.
The thing about square panels is that once you place the text at the top it becomes more of a landscape ratio, I find. I consciously hewed to a six-panel (square panels) grid in the late 1980s just to get my storytelling under control. Too much Sterankoid shattered-glass page layouts becomes confusing and a waste of time to design properly. I found that by concentrating on what went into each panel instead of finding the right-shaped panel to surround each image was conducive to stronger, clearer storytelling and saner sanity. Constraints are good.
Every instinct of mine begs me to exploit the narrative virtues of the blank page but you can't sneeze at a 6-9 panel grid. It works EVERYTIME.