Throughout the book, Thompson effectively uses the gutters to create meaningful transitions, such as panel-to panel, action to action, subject to subject, scene to scene and aspect to aspect (McCloud, 1994). Likewise, most of the gutters are white and evenly space out the panels. Throughout most of the book, the panels are a traditional size and illustrations rarely spill out from the borders. The reader then has to extract meaning from the illustrations itself, which is easy to do because of the detail in the characters and background. While the panels are sequential, there are many panels without text that are used to show the character’s state of mind or emotions.
Another time Thompson uses the dark gutters is during flashbacks or scripture from the Bible. For example, when Thompson wanted to show rage in a particular panel, he made the outline darker, rough and drew the illustration more abstract and sketch-like. In the book, thick, dark outlines in the gutters were used to focus the reader on a particular panel, which could show movement, action or a dark emotion. From one page to the next, a layout can read right to left or from top to bottom. The ever changing layout means the reader has to be aware of the flow and actively engaged in reading the panels in the correct order.
Individual panels go from small, narrow rectangles to full pages. Throughout the book, Thompson uses a variety of panel techniques to make the layout visually appealing and contribute to the meaning of the work. The text in both the speech and thought balloons look hand written, and therefore are flowy and less precise than if they were typed. In Blankets, the illustrated panels are often accompanied by text that enhances the reader’s understanding of the picture, furthers the dialogue or allows Thompson to reflect on what is occurring.
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