As I've made clear before, I have major issues with Frank Miller's Batman story, The Dark Knight Returns. However, as I've also mentioned, I can't deny the technical excellence of it, or how fundamentally sound it is. The first issue, specifically, which was written full script, I think, showcases brilliant layouts.
One such example is this following scene, when Bruce Wayne is finally giving into the Batman part of his persona, and knocks over a statue in the process. In this sequence, Miller successfully uses the uniform panel as a measure of time, with a grid successfully controlling every beat of the story.
Miller turns this on its ear by having the first panel take the place of 8 panels. With the windows taking the same space as the rest of the panels below it, the windows effectively perform the same function as the panels; the time and beats are still controlled, but with only one moment taking place in this space, the slow motion effect is achieved.
To heighten the mastery of this storytelling technique, here's acclaimed comics writer Warren Ellis:
The sixteen-panel grid is a pig to work. I've stayed clear of it. It's a scary-looking bugger. As a rule, only writer-artists have made it sing, and even then there can be a loss of linear storytelling. The most famous 16-grid book of the last twenty years or so is Frank Miller, Klaus Janson & Lynn Varley's THE DARK KNIGHT RETURNS, and it illustrates the nature of the beast perfectly.
Kinda makes you see the book in a different light, huh?