18.10.20- 6.12.2020 (Week 9 - 15 ) Sajiya Mir (0340836)
Illustration & Visual Narrative
Bachelor of Design (Hons) in Creative Media
Taylors University
FINAL Project
Graphic Novel
[PROGRESS]
Isekai (Japanese: 異世界, "different world" or "otherworld") is an "accidental travel."
STEP 1: MINDMAP
STEP 2: THREE ACT STRUCTURE
STEP 3: ART STYLE
Fig.1.3 Kathrin Honesta on Behance
Fig.1.4 yoovora on Instagram
Fig.1.5 poopikat on Instagram
The art designs I've been looking at using a very vibrant color palette. The shapes of the characters are rounded through the use of clear outlines. The facial features are round with round eyes, nose, and mouth. The effect is rather grainy, like a crayon or a colored pencil sketch. Details are provided with the use of different colors.
STEP 4: LAYOUT
STEP 5: CHARACTER DESIGN
Fig.1.6 Character Sketch 1
Fig.1.7 Character sketch 2
Fig.1.8 Character Sketch 3
I started by designing the main characters using inspiration and references I found. As my art style was similar to those found in children's books, I tried to draw something more cartoonish and nothing too complicated as I would have to redraw the character for many panels.
Fig.1.9 Final Character design 1
I modified several things from the first sketch. I changed the face first, and then I changed the clothes and the shoes too. I kept the color scheme similar to the first sketch, but I added pink to the dress instead of having it be just black and white, as I felt this brought more personality to the character. Once she is transported into the storybook world, you see this version of the character. She is not given a name because you will understand that she does not remember who she was once you read the story.
Fig.2.0 Final Character design 2
This is the character's second version. You mainly see this version on the first page right before she is transported. I did not modify this character and kept it the same as the first sketch because I was happy with it.
Fig.2.1 Character design 'King's Guard.'
This character is one of the guards for the king. I slightly changed the face details where the eyes a much closer. I chose blue-white, and yellow for the clothes as these colors are typically found in military uniforms.
Fig.2.1 Character design 'King Ijekiel.'
This character is the king in the book; I once again changed his face to be more similar to the girl's character (Fig.1.9). I designed him to be a typical king with a red cape and golden crown.
Fig.2.2 Character design 'Spirit of the forest.'
Fig.2.3 Script
With all the characters finalized, I started by writing a script with all the dialogue. This was to help me understand what the expression or body posture of the character is displaying when I start drawing. When writing the dialogues I tried to think about how I used to talk as a teenager or how an adult talks. This gave my character personality and made them sound less artificial.
Fig.2.4 Comic sketch
I began sketching out the comic using the script as a template. I tried to concentrate more on the character's actions and positions and less on the background. I wanted to see how many panels each page would have and the panel sizes. With the exception of one of the two pages, I opted for three panels per page. I increased the number of pages from ten to fifteen after getting permission from Ms. Anis, as I felt I couldn't convey my story well in just ten pages.
Fig.2.5 Progress
Once I was satisfied with the layout, I colored in all the panels. On the first page, the color scheme is much darker and warmer than the pages after where more bright and vibrant colors are used. This was to shows the shift in the story's atmosphere and setting.
Fig.2.6 Progress
This change in color scheme is seen again when the character enters the forest and the story nears its climax. In the forest, while the grass and the leaves are colorful, the main background is a dark green color. I did this because I wanted the character's emotions to reflect on her surrounding. In the forest, she is scared and confused, so I used a darker color tone.
Fig.2.7 Progress
Finally, I added the speech bubbles. Out of the three speech bubbles, as seen in Fig.2.7, I mostly used the normal speech bubble for the dialogues. I used the 'Yelling' speech bubble when she is shocked and the 'weak or fading' speech bubble fro when she is scared or drowsy.
Fig.2.8 Progress
Next, I transferred all my photoshop files to After effect to animate the characters and also the text bubbles. I did have to make a few changes in the comic when animating. For example, on page three the girl is not confined inside the boxes so I scaled the image down and added her to panel one of page three.
Fig.2.9 Progress
Lastly, I used Premiere Pro to add the transition effect and refine the length of each clip. When finalizing the duration of each second I had to keep in mind the time it takes for a person to read the text bubbles and also to look at the elements of the scene.
Fig.3.0 Final Comic
Fig.3.1 Final Motion Comic
[Reflection]
Experience: This was the most difficult assignment in IVN, mainly because it was a joint project, and the number of things we had to complete increased. I struggled with coming up with the plot and had to change it a couple of times, even after I was finished coloring my comic. I wanted to get a lot of information across, which made it difficult because we only had ten pages. In the end, I did increase the number of pages and came up with a story I could tell within the ten pages. I did have a lot of fun making the character and coloring all the panels.
Observation: Through this project, I learned more about how the setting of the place, the colors, and the panels' style can set the mood for the story. When drawing my owl panels, I considered how this would affect the story and how I can use it to convey the theme. For example, in my comic, the colors I used at the beginning of the story were much brighter, and then it continuously gets darker as the story progresses. This reflects what the characters are feeling and the information given.
Findings:Until you begin drawing, it's always best to think about what you will animate. This is so that you can have the foreground, backdrop, and various elements in various layers while drawing, and it makes the animating process much simpler.
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