Monday, 29 December 2014

SIM: Part 2 Visual Narrative/Treasured Possession - Artist Research.

Stage 2 of this Sequential Image Making module has us looking at possessions and memories.

I've decided to submit a double-page spread composed of between 8 and 18 panels.

I've got a rough script together, but want to look at some practicing artists to get some ideas about how I can play with composition, transition, mood and style in my short comic. 

Lilli Carre


Lilli works a lot with comic books and animation, though this piece of illustration really stood out for me. The division of the image connotes sequential panels. Using the panels to form another visual element or image could be an interesting method to play with. 
We'll see what works for the narrative, but I'd quite like to break away from solely using rectangle panels. 


Brecht Evens


Here Brecht uses decorative elements to break up the monotony of the bog-standard panel.
What caught my attention more was his use of colour to infer which text belongs to which character, rather than surrounding it with the traditional speech bubble. 
In a story that is wordless, using colour to associate different image elements with each other may be a handy technique in furthering the clarity of communication in my images.


Jon McNaught


McNaught provides an example of how different sized panels are suited to different purposes. Like a wide establishing shot in film, the left panel which introduces a setting for the adjacent panels takes up a whole page. 

Also evident is the use of colour palette to communicate a certain point of time in the day. 

Expanding on this idea, Brian Hitch talks about the use of colour to produce mood also in his book 'Ultimate Comics Studio' 




Chris Ware



In Ware's graphic novel 'Building Stories' He uses a change in colour palette and panel border style to communicate abstract events depicted in thoughts and dreams. I'll use visual cues like these to help communicate what is going on in my narrative. 

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