“Unveiling the Unseen: Teresa Wong Explores the Extraordinary Depths of Everyday Life in Her Graphic Memoir”
Working from that imaginary grid gave me enough structure to get started. For example, when I land in Hong Kong, I wanted a Hong Kong skyline, and so I let the content dictate what kind of panel it needed. And for a long skyline, to really show it in an expansive way, I chose the long one panel—a skinny rectangle.
If I wanted to show an action, for example, making rice, I chose the three panel lay-out, that’s more conducive to showing little steps. And then from that, I had something standard that I could work from. Part of the joy of writing anything is breaking rules every once in a while too— it really makes the reader pause. You don’t want to do it too often, or nonsensically—you want to do it with some deliberation, and know that you’re doing it for a certain effect at a certain time. And so that the times that I chose to really only show nothing in the rows, were the times of the most I feel like distance or alienation, or solitude.
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