travling man exhibition.

travelling man exhibition. this is an exhibition that will take place at the travelling man comic book store down in Leeds city centre. being one of the two managing this exhibition I shouldn't be able to get this wrong... pretty simple project the theme is fan art...and we have a colour pallet boundry to work within. 

I feel that I'm pushing it a little bit by taking on this project. but I feel it's a possibility a good chance to make contacts and get my work seen within the industry that I want my work to exist in. I don't want to spend too much time on this I want this project to be completed within a 2 day period. I'm going to see this as a practice to plough out some god quality work in a short space of time.

well if you didn't guess what my fan art project was going to be by now then you don't know me at all...of course, I'm going to do star wars! star wars for a number of reasons!!! 1. it's awesome 2. it has a huge following 3. it a dream of mine to work on something star wars (so whatever chance I get ill do it) 4. on the date of the exhibition opening its 46 days until the next star wars come out. and yet another trailer will be realised so there will be as always a huge hype and a buzz everything related star wars. plus I already  know lots about star wars so I won't have to do a lot of research I can work from reference but because I'm a huge fan and have drawn these characters 100s of times since I was like 6 I know what they should look like and what I can get away with.  not only am I wanting people to look at my work and want to buy it, I want people to notice who's done it! 

I started of by taking an hour of my spare time and googled fan art star wars.

impressive stuff but none that I can see that I can relate to...is that a good thing?

I think I'm drawn to the ones that show more craft in it. I seem to pick out the ones that I would have on my wall. the ones with multiple characters on are the ones that I feel shows a level of craft 

 

A2 submission...so I don't want to waste that space, i saw a few of my peers drawing 2 or 3 things on one page and its just too front heavy and I just see space that could have been used, so saying that I'm going to use all my page. 

I've been incredibly influenced and inspired by the fan art above.I'mm thinking about a huge piece with multiple characters on. 

my favourite pieces of work are the ones that you get lost in, mentally and physically, I like it when your close up to a piece and able to notice new things "wow look whos just over his shoulder...wally" if that makes sense.  

okay, below are the characters that I will be putting on this fan art poster, there's going to be multiples of the stormtroopers...there's going to be around 25 characters drawn all together!

stormtrooper, sand trooper, snow trooper, scout trooper,stormtrooper7, snowtrooper7,flametrooper7,captinephasma,thanks trooper,desterstormtrooper,death trooper,kyloren,

darthvader,emporier, hux,cant remember,the director,spoke

below are some of the vehicles that are used in the films that I want to exist in my poster. 

I decided to base my project on the bad guys of the franchise. the empire, the dark side. resin being...I researched on Instagram and twitter and the amount of star wars fan group and pages was more about the empire than it was the rebels...( the good guys) by a lot! 3-1 kind of thing happening.

so I feel that if I'm aiming this at the fans of start wars I should aim it at what the majority is like!

I revisited some of my work that I had done previous to this project. I was getting my self-familiar with the drawings again, studying the strokes and contrast to the ink. part of me was looking for a shortcut and hoping that I could scan them and arrange them on photoshop or just trace them onto the A2 page... 

I can't do either because the line weight will change throughout the page...as one gets smaller the other line weight will get heavier and this will through the piece of big time. so I plan to draw all the characters str8 onto the A2 page there for I will have a consistent line weight and a true form picture.

   

thumbnails

I didn't spend too much time on thumbnails I usually spend a lot of time testing out compositions and layouts but I had a clear vision what I had in mind and I came to the final composition idea fairly quickly. was one of them moments where you know it's right. however I didn't want to jump the gun but at the same time didn't want to waste any more time... I asked peers for advice on which they felt worked the better and all said the second one ( right hand side below) one peer told me that she was drawn to this one right away because she had seen this composition done so many times and that this was a fresh idea and not seen it...plus she's a huge star wars geek like me and is a fan liked it that's hitting the nail on the head. so the vote was in and 100 of people said the second one.


add thumbnails in

following my thumbnail I laid out the placement of characters I got that just the way I wanted before I added the refined pencil. this stage isn't the recovery  line work for my ink, but its guidelines...without sounding all fine art and pretentious the pencil work in my practice is a conversation between me and my development. thicker lines tell me to remember a drop shadow goes there, a smudge reminds me a gradient is needed here, and cross hatch with a pencil means a darker shade of grey is needed to express a reflected shadow. and this conversation needs to happen in this piece because its a big piece with lots going on and if I forget about one of these, it will not be forgiving. id loose the whole picture...the thicker line on one trooper can through of the composition and the weight of the picture ( i.e if a trooper behind another has the thicker line weight and a wrong drop shadow it will appear that the trooper in the back ground should be in front of the trooper in the foreground.

you can see more of that conversation happening here...the jaw lines are thicker to indicate a cast shadow is needed.  I could have made these characters look realistic, but I want these characters to be recognised but in the comic format.

this is a proses shot, about 80% done with the pencil. 

I didn't expect to spend this amount of time on the pencil work, I spent 2 hours and 10 mins... not to sound big headed but it's not bad going for a couple of hours work. it's made me think that I can handle these short briefs with a good standard result. the plan for this project was to practice this and I feel like its paying off....but I haven't started the inking and digital yet there could easily be a huge challenge such as me trying to save the document that will jeopardise the time on this project 

I used a lightbox to ink on a separate piece of paper, something I don't really do because sometimes I can't see the line work properly or I don't get that clear conversation I was talking about and it always leads me to make a mistake and having to start again, but I thought I've learnt from my mistakes and ill give it ago (on the largest piece iv worked on in 3 years) whilst I was inking on the light box I noticed the difference it had on my practice already. the lines were clear and tight. something ill adds to my development every time. 

the lightbox has improved my line work dramatically. there been comments from peers and without been big headed I agree that it looks professional, so I'm pretty happy to have achieved it. iv always looked at my work and thought it's missing that professional look always has that crafted hobbyist level to it. the improvement on the line work made it complement the digital colouring. every time I added a colour I got that bit more excited about how it was looking.

I came across a challenge I had intended to have all the ink done by 6 o'clock one evening so I can get the base coats down on my digital colour by 10 pm...the challenge was that the print room at college shuts at half 3 and that is the only place I could get an A2 image scanned...if I missed it that meant that I had would have to wait until Monday to scan it and that would mean I was 3 days behind. so at 3.20 Friday I ran to the print room and scanned in what I had so far and then planned to draw the rest on a3 paper and then scan them in and add them into photoshop and add them on later that evening.

right - here's a teaser I posted on Instagram...plus I wanted to show of a little...its all about the likes.

left - progression shot of the colour being applied. important step! here I think you can see the decisions that were being made regarding the colours. I was testing out that heavy pink and the dark blues...I wanted to get that 80s feel on the helmet ad sink of the old guy in the top right.

if you scroll up to the images that show the inks been applied you'll see an at-at walker to the left of the image (looks like the below) it on a side profile so looks flat. I felt that something needed to change out the composition of this as I felt it was flattening the image and drawing the eye of the page...I asked peers and they agreed so I drew another composition of the at-at walker and scanned it in and used powers on photoshop to make it part of the piece.

 

the piece at this stage is coming to its end. I have to add tie fighters in the background and add shading to make the image have depth. here I added a border to the piece to see what it was I was working too. with the white border, i can see the final image and how it will look. i like it :).

when I felt it was finished I got Patrick and ben to critique it. and they picked at it to the very detail witch was perfect! its nice to get feed brack from someone who know that i won't take offence...feedback that is actually constructive. the studio needs more honest feedback, more times than none iv come away from a group crit and been told yeah it's nice!....that's it, knowing full well that this isnt the practice they like so I'm sure they would have something they would change about it...but never mind i got my feed back none theless. 

not sure if you can see it from this photo but there's lots of circles, and crosses and all kinds of notifications on it, these are all pointers from ben and Patrick. I don't know why but i love seeing test prints with all these working outs on it! maybe it excites me because i have a to push that image a bit further.

i think its nice to be told this needs doing and that needs changing becuase that means if you do them thats your work stepping up its getting better never understood how people get offended by critiques but i must say the hardest part of taking this critism was reciving it 1 hour and 10 mins before they get sent to be printed. 

progrestion shot...hitting that digital flow to get it ready for print on time.

the final out come.

i think its a successful piece. i think it shows my research and interests well. i adapted the comic book style with that collage of characters you see on the movie posters at the beginning of this post. working in a limited colour pallet was a challenge but i really really enjoyed it. i think it challenged me to use colour in a different way to show contrasts and a different way of expressing light. also i felt the challenge of having to mix the colours up enough so the portraits represented them. using a limited colour pallet is something I'll definitely be applying to my practice in the future i had so much fun with the challenge and i feel that it makes the work look more interesting it draws they more to the picture. working with in a short time was stressful...i didnt hit my deadline of 2 days because of other commitments in college such as cop and tutorials but i only spent 22 hours and 50 mins on this project so i did it under the 2 days but oer the duration of 6 days. iv learnt that i can create somthing of a good quolity in a short amaount of time. in future i know that i can tell clients that a project can be created and finished with in 7 working days and that gives me more than enough time to jugle a few projects about...if that makes sence. over all i learnt a great deal from this little project. how i handle my timemangement, new skills in my practice, working to a short dead line, and that i can create not bad work with in a short time space.

statement of intent

STATEMENT OF INTENT 

Practical response workshop 

• leaving this session with a clear brief 
• Peer reviews are the points of progression... mini goals if you will
• Find 3 question that will guid your visual research.
• Need to think about- 

Merchandising 

materials, 

how to print on book covers, 

were do I get it printed as a hardback 

• Develops, communicate and present that outcome. 
• There has to be an out come that some one can say I get what you are looking at I get what you have researched now. 
• Research comic book culture
• Be thought bubble 
• Be at the classes comic books are 
• Look at self published comic book
• Looking at a quality or book making
• Substantial means a range of something but as long as you address the level of craft and understanding...then it's substantial
• You should have a body of research 
• Connections come from the same pool of research 
• State "THIS IS WHAT IM GOING TO DO

task 

the documents below is a statement of intent that was submitted to turn it in. I feel more comfortable writing these due to the brake downs we have to create these in our workshops. I know there is much to work on but at least now I can look at one without feeling hesitant to complete on. I look forward to receiving the feedback from the submission because then I feel ill be able to work on that and have a confident statement.  

i took some time away from the sketchbook and decided to dedicate some time in researching concept art and the duties of...i wanted to make sure what i was aiming to create for this project was mimicking the real thing. 

in my research i learnt the differnces between topics with in the concept art. i learned the names for formats and proposal sheets. such as ideation and key frame and iteration

i jotted these down on the white board because i read that making notes somewhere different from where you usually make notes can help make the notes sink in. this helped loads with my dyslexia. 

Duties

When the creative director and art director get an idea in their heads about a new game character or world, the concept artist is responsible for generating a portfolio of images to clarify that artistic vision. The artist begins with a few vague descriptions like “reptilian humanoid with battle armor” or “cute flying bubble creature” and returns with several different examples. The initial concept art is sketched on paper, and then refined to paintings and 3-D models. The iterations are discussed in art meetings until a final design is agreed upon. In addition to fleshing out characters, the concept artist is called upon to produce detailed illustrations of weapons, environments, and props—anything that appears in the game world. Under the supervision of the art director and lead concept artist, this person suggests color palette and mood; he or she must maintain a unified visual style that is consistent across each design. It is typical to go back and forth over hundreds of illustrations, tuning the finer points, before one design is approved. This repetition requires patience and a keen attention to detail.

useful link to information of what is expected of a concept artist and what is the duties off the concept artists and what to expect in the working enviroment. 

http://getinmedia.com/careers/concept-artist

Studio practice workshop.

Briefing workshop notes

• communication and problem solving is the difference between illustrators and surface pattern. "Quote"
• All kinds of ways that illustration will be applied to one project. I.e. Book cover project. Window display. Hangings. Bags people walk out with.
• How is this going to help me define my practice 
• How is this going to help my portfolio 
• Identifying a target audience 
• Think about how you plan your time... create a balance between briefs, weekly, substantial briefs. 
• One a week briefs are important 

Why is one a week briefs important.

• no pressure from clients
• Experimental 
• Playful
• Be able to make mistakes 
• To not have to worry about the end product 
• Quick turn around 
• Practical skill development 
• Efficiency and effective 
• Personal themes / content
• Your visual signature development 
• Development of practice 
• The visual journey 
• Reflecting on your practice 
• Structure and routine

Structure and routine is important, you have to be someone who can work with the work loads with in a time. You can look back on and identify... what looks better, what has been lost, ext. 

Live competition briefs 

• collaboration 
• Professional competencies 
• Experience of client based work
• Get paid/win prizes 
• Specifications (given)
• Problems to solve
• Gaining contacts 
• Exposure and glory
• Problems to solve
• Research and development 
• Contacts and networks
• Working to dead lines

Understand how to read a brief, how to work with a brief, how to present your work to a client. Understanding how to work to that format. 

Working to dead lines - if you don't work to deadlines you won't get employed.

the job - sketchbook

so I decided to hit the sketchbooks, get down these ideas I had fresh in mind for the characters. I started this in pencil inspired by the quick sketches Ralf McQueary did in his early concept developments. 

all my work was pencil based when I started this course but my worked developed for the better and now I kind of gravitate to ink. so before now I felt picking up a pencil would be a step backwards but lately iv been reassured not to be to obsessed by media by concept artists within my ppp. and seeing half loose pencil skills made me itchy to pick it up again.

by doing so iv learnt that I shouldn't think that it's a step backwards if I pick up a pencil for a piece, not for a concept artist that is. and iv really enjoyed drawing like with it, it made it easier getting that idea down, its made it easier to translate and get it down quick. the pencil is more forgiving, you can rub it out smudge get tones and textures the pencil has rocketed the start of this sketchbook. 

so from now on when it come to getting ideas down ill get the pencil. 

to start my focus was creating a variety of character and creatures that i then can pick to fill my scene. the characters jobs will be to set the tone, tell the time, set the mood. characters that show culture within the scene and race. show friendship. tell the story. 

some of the better pages of my sketchbook that show good design and characters that give that star wars feel.

below- this drawing sparked a culture or a group of creatures for my scene. when I was drawing this guy I was playing around with what he would be like in the scene in my head. I had him very tall and in long gowns and moved slow like a monk, then I got an idea to have  few of them...but then I thought I should make a group of holy. members from different planets.

that drawing lead to a thumbnail or a group of holy characters  sat waiting for the there waitress.

I started to paly ith the idea of what they should wear. long gowns hands held clasped together...trying to make them look holy with out the need of name tags.

 

I think this was important to document because I was starting to think about the culture...I was inventing the world. starting to think of back storeys, thinking more about the characters rather than the scene its self. its this kind of work that will make this piece magic!

thinking about culture and men in their groups it got me thinking about jaws from the new hope, or sand people...people who travel in groups and they look the same. it leads me to draw these guys below, little creatures like scavengers 

i was deffenitly thinking star wars when i drew this and thats importent. i can see this as a puppet in the saga. keeping that style running through out will give me that star wars look that is needed for this brief. 

in the script that is attached to the brif it introduced a group of bandits. when i finished this drawing i thought maybe i can use this as a five finger (the bandits name) im aware that i have other characters to develop and im concidering starting points for them. i can relate to this image later when it comes to developing characters for the story of the bar. 

below i started to draw a character that very much looked like an existing character from the saga.  i decided to document this because it was a turning poit in my development. i decided to add a few existing races from the saga into my scene, that way its more relatable and will defonitly be identifed as a star wars piece. plus through out the saga you start to notice races popping up every wear. and because this is a bar i imageing thats the best place to see races mingle 

i drew this old man that got me thinking that i should focus more on humanoid in my sketchbook...keeping with my rules. 

my next plans of action is to keep making rough sketch ideas for characters. when i have a good body of work ill then pick 10 - 20 characters to fill my scene a portrait render and a few keyframes of the characters...after that ill be working on the five fingers. 

iv learnt alot so far from my little project, iv learnt what works and what doesnt when it comes to designing creatures. im still learning boundrys to an aduiance, what is acceptibl and what is classed as scary to what age? im having fun learning all about the industry as i go along.

the job - research

before diving in head first into this project I felt that I should make some research. I already know a lot about star wars and the franchise so I have a head start when it comes to that side of things but I feel that researching the background of the visual elements to the saga. the main concept artists for the original 3 was Ralf McQueary and the concept artists from the later film 'the force awakens' was influenced by his work they got to see his work in person and get to work from it. so I felt I should have that advantage also...so my first steps was to research rules work, get influenced by his creations and designs. I have a collection of things star wars and I turned to my book, illustration and concepts. looking through these or guidance for creating characters and influenced to creating the creatures.


the brief states this has to be star wars its as if this is part of the saga. so its super important it feels star wars. researching the concepts and the development of the characters and creatures should influence my concept also and if I'm good enough my work will have that star wars voice.


I spent a long time looking through photos on google through my books, through books at the library so instead of listing them all I made a semi short issue of all the images that i consider to be the images i found that will influence my practice, also the notes that i took when bookmarking them.

and of course, I watched the saga again...

joking aside, watching the films again and being taken to the world of star wars was inspirational, being that lets my imagination go wild and images pop into my head that then vomit onto the pages of my sketchbook. 

the research has shown me that I need to keep the characters playful and somewhat tongue and cheek I have to remember this is a kids film, I don't want to push it too far and end up with a scene from alien...but at the same time I don't want to come out with a character too much for kids. I need to get the feeling that I got when I was 8 watching it. 'oooh he looks cool' i don't like him, he creepy' 'ha ha dad he's ugly' nothing too scary or characters into darkness

also, I have to remind myself that in the star wars scenes there's a good balance between creatures and humanoids, a good balance between characters that are actors and some that are costume and puppets. I have to get the right balance also.

good composition and good lighting to explain the mood the area and the atmosphere.



image above is dark and damp, leaves you feeling that its closed in, underground or back ally pub, the kind you wouldnt want to go in, unless your wanting to sell next doors blue rey dvd player.

artstation- project the job

the job 

iv stated on my PPP blog that I found a site that if you make a membership with them you can role play as a concept artist it simulates the job as a concept artist. it uploads challenges, briefs that have been used within films and tv. here's a link to my PPP for a more detailed talk about the site 

http://j-newbert1417-ppp.blogspot.co.uk/

when I was looking through older challenges I found this project that was right for my practice. it has character and creature design init, a location and I could apply this to comic book and storyboard once I have done the concept for it! but this project isn't live anymore its been and the submission have been made but because I can't make it part of my live briefs I can add this to myself initiated briefs. I really need to do this project because this will give me the chance to put my practice... to practice. this will challenge me for sure .

the link to the challenge is below

https://www.artstation.com/contests/ilm/challenges/10

below are some of the things from the challenge that i thought was important to this project. to be fair the project is very short on terms of what they are asking for but its opening the chances to use your ability and your imagination 

• Directors note: “The third act of our film is stiff. The writers could use some inspiration. Lets get the Art Department to come up with some ideas for two of the scenes to help inspire them. Have them choose which they want to do and go nuts. (They don’t have to do both, pick one and make it incredible) Play up the drama and energy.  No one should be playing it safe!!!!

• MOST IMPORTANTLY – “Needs to be something we have never seen before. You know, but definitively Star Wars…”

• Design, develop and present images you feel best represents your skills. There is no minimum or maximum—just amaze us. Based on the previous challenges you should know what to do. Integrate some of your designs into your scenes. Remember… a strong story idea is a foundation to powerful emotional imagery. If time is critical then focus on something in the scenes that inspires you … play to your strengths.

• Choose a moment from one of the scenes to explore

Sunlight streams into the dingy drinking hole. Drunk
regulars slouch over drinks – lost in thought and in
themselves. An alien snores in the corner. A BAR MAID wipes
a chipped stein.

FIVE FIGURES gamble at a back table. Old friends, CRAX,
URU, YOT, TAR KEN, MYX DUR, - varying shapes and sizes and
species - playing a game they’ve played a thousand times
over. They know each other’s tells and tricks – the cards
up their sleeves and how quick each can reach for a
blaster...

LIGHT BLARES FROM AN OPEN DOOR into the darkest corners –
the regulars flinch. The door closes as they turn to glare
at the intruder.

A HOODED FIGURE SITS at the edge of the bar. Eyes give him
a once over – but quickly refocus on the drinks at hand.

Hooded Figure signals the Bar Maid with a nod - she leans
in with a smile – he whispers into her ear – her face
falters and she turns to the taps.

She trays up five glasses and saunters across the bar – a
sight for sore eyes with her six long legs – to our Five
Figures.

                          BAR MAID
               Drinks for ya.

                            CRAX
               ‘Bout time. On the house?

                          BAR MAID
               You wish.

                            URU
               Oh, from you then?

                          BAR MAID
               You wish even more. From your

new friend.

She gestures to Hooded Figure. He nods and raises a glass
of his own. The Five Figures exchange glances – and reach
for the drinks...

They raise their glasses - move to drink –

                       HOODED FIGURE
               It’s almost too easy.

They swallow and sputter.

CRAX What is?

                       HOODED FIGURE
               Killing you...

He swallows his own drink. The Five Figures tense... the air
hangs thick...

The Hooded Figure removes his hood – REVEALING: MANU GRIT –
a BOUNTY HUNTER.

                         MANU GRIT
                    (winking)

               ...If I wanted to.

                            CRAX
               Manu Grit, old friend. I thought

               you were dead.

                         MANU GRIT
               You certainly tried your best. I

               always figured you for a
               backstabber but kidnapping too?
               Nice touch.

                            URU
               Never send an alien to do an

               assassin’s job.

                            YOT
               You’ve blown your surprise.

The Five Figures stand...

2

E

           TAR KEN
Should’ve poisoned us when

               you had the chance.
They fan out around the table, hands on their weapons...

                         MANU GRIT
               Poison is a waist of a good

               drink. Plus, don’t want to
               ruin this little lady’s
               business with a bad reputation.

He winks at the Bar Maid – she sneers.

                          BAR MAID
               Save it, honey. I side with

               my regulars.
She throws flashes a thigh revealing a holstered blaster.

                         MANU GRIT
               I get it. Can’t say no to a loyal

customer.

                            CRAX
               Enough chit-chat. What’s your

               plan now, Grit? Shoot us all?

                         MANU GRIT
               If you say so.

He draws his weapon – FIRES!

3 

for me to get an idea how i should approach this project iv broken it down into parts. this is just parts iv not included research and everything because that's just a given now.

1. characters for the bar (creating the characters)

2. the bar(location creating)

3.illustrating the scene 

4.storyboard the script above

5.make the script into a comic strip   

doing the extra storyboarding and comic stuff allows me to explore a real brief but in the situation of storyboard artists and a comic artists also give me more pages that could be possibly added to my portfolio. 

best part of this project it says THINK STAR WARS! i know where my research is starting...sorry Georgie. 

below my proposel 

fumetto comic competition research

copied and pasted the Conditions as a recap for future reference 

• Deadline: 4th of January 2016 (date of postmark)
• Application: apply here (user number), print and enclose application
• Format: A4 or A3 (other formats enclose application will be disqualified)
• Form: only comics (stories in picture form), no digital entries
• Number of pages: maximum 4 (only 1 comic-story)
• Labelling: name, address, telephone number, e-mail, user number, date of birth and paging on the back of each page
• Packaging: sturdy envelope, no rolls
• Return postage: For Swiss Nationals only: stamps or money in the value of the stamps needed. For Foreigners: 15 Euro. If the return postage is not enclosed or not sufficient the works will not be sent back but kept for one year only.
• Categories: Cat. 1: 18 years or older / Cat. 2: 13 to 17 years / Cat. 3: up to 12 years of age (reference date is the deadline)
• Schools: enclose a list with names and details (see «Labelling») of the participating students and information about a school, class, teacher, e-mail and telephone number.

I'm going to start this project by researching short comics, reading and getting my self-acquainted with short stories and understanding the story telling of a short comic and what stories fit and don't fit (in my opinion) a short story comic.

I'm not so interested in researching the styles of the comic book (visually) I want to see how other artists have managed the story telling with in pages or less that what I want to be influenced by.

I'm a little worried that the limit of the pages is 4, I feel that's going to be a struggle to tell a story with in 4 pages...and to find a story that will work in 4 pages. 

 I stumbled across this on deviant art. its a 6 page short comic. its star wars vs alien, shit idea I know but the story telling is great. the lay out of the panels on the page really helps with telling the story. iv all ready planned to research panels and sequential by books, web sights, class maybe and most definitely the web but after realising my struggles and been shown an example of how I can manage this, I feel that I need to do more by actually contacting a sequential artists and discussing their experience with a similar task. 

were does short story comics live???

I want to know were short comics exist apart from the high street. in its applied content

viz magazine, newspapers, zines,publications, products, posters



  

the 3 images below I found on google and deviant art, iv chose to blog because all ready its given me an idea how I can get a story in a short limit of 4 pages. the pages below have over working panels or have lost of panels on one page. but still have good quality work in there, I think they can have lots of panels and high-level quality work due to there well-designed composition work. something that I have to consider when I'm creating the panels. I have to make experiments with the composition of each panel in order for the story to work like these images below have.

  

again the image below is working with good composition and many panels on one page and the story is working well but i haven't blogged it for them reasons iv blogged this to an example of good story telling by mood emotion and atmosphere. this artist has chosen some real dark side of colours to use, this really brings the mood to the story. the composition brings that perspective that you are the child on the floor...that brings sympathy also because you get a sense of knowing what the character is going through. the artists have chosen to put the character in front of the light, brilliant craft. 

all these little tricks haven't happened by mistake there has been storyboard roughs and thumbnails and all kinds of experiments until the artists found the right elements to tell the story 

  

i bought this book of amazon. its jam packed full of short stories. 

"24 artists take on 7 pages to tell their tales of the creation of everything"

                    

i'll try to format my work in the same way that the artists have done above, layered panels clever composition and expression and atmosphere all these to convey the story with limited pages. 

finding a story 

for this project i wanted to be influence to create my own story, i have plans for a project in the second semester were i translate falk law stories into comic books so i don't i want to repeat the same project.  first, i think i should consider what audience i want to aim this story at. 12 and under? 13 to 17? or 18s and over? then i should consider what the genre will be. (sci-fi, fantasy, horror,  comedy, thriller, romantic, action, detective etc.) i should then discover a theme (historical, futuristic, fairy tail, cowboys and Indians etc.)

researching 18+ comics...

spawn

walking dead

 

there are other 18+ comics but I don't think it's appropriate to put on my blog but you can imagine what kind of comics surfaced in my research. I love gory adult graphic novels, it's nice to see that cartoon comic style isn't been repressed to stereotypical comic book stuff. I think it's great that comics is know been seen as acceptable through all ages. 

researching 12 to 18 comic books 

a lot of marvel material aimed are aimed at the age group I feel. its more tongue and cheek, less serious more magical with no explanation needed...could be more fun in that sense anything is possible.. its the same as the adult stuff but the adult stuff use reasoning to their story lines. 

research under 12s comics 

not much to say about these but that i'm not interested in drawing this style for children so this has answered part of my question to what age group to i want to aim my story at...defonatly not under 12s BUT i like the stories that are related to this books. the journeys that they take the audience so maybe my story could investigate the journey i'm taking someone on, or illustrating the journey that someone is going on. 

researching a genre for a story

i want to explore the possiblitys of gurners before i crate a story, i want to find somthing that inspires a story and make that for the age group im aiming my storyt at. 

i spent some time searching concept art to get inspired for a genre, iv posted a list of pictures that i saw and i felt that spark with...i felt that i could find a story with in it.

mythical

sci fi 

fantasy 

horror 

fantasy and horror are the genre that I'm more pulled towards, but at the same time I'm thinking about how i can incorporate these into a story that i create something that older children would like ass well ages from 10 to 14. but i want adults to pick this up and say this is cool!

im thinking about making the art high level, detailed stuff the kind of work you see in the adult comic books (that will attract the older generations) but the story is to be aimed at 10 to 14-year-old people. a tricky task but with the right storyboarding and story telling i think i can pull this off. 

THE INSPIRATION!!!

on my lunch brake whilst scoffing down a protein shake ( liquid lunches are fast to consume...more time to work) i stumbled across this image on Pinterest (above)...and it made me go awwww and it reminded me of an old illustration that i had done for a quote " the power of a childs imagination" (below)

this has sparked an idea for a story for my projects. 

a child dressed up in house hold things pretending to be something, the story is following the child but through his imagination.