Week 7 - Week 10 (Assignment 3)

ILLUSTRATION AND VISUAL NARRATIVE - Assignment 3 (Graphic Novel)

12 October, 2017 - 2 November, 2017 (Week 7 - Week 10)

Jesslyn Fabryando (0332213)

Illustrative and Visual Narrative

Lecture/ Tutorial/ Practical - Week 7 (12 October, 2017): Graphic Novel (Briefing)

On our seventh week, We were brief on our third assignment which is making Graphic novel. Mr. Hafiz explained the different transitions.

According to American Cartoonist and Theorist, Scott McCloud transitions in sequential art (in particular comics id est graphic novels) separates the panel-to-panel transitions into five importantly utilized categories.

Fig. 1. moment-to-moment transitions, action-to-action transitions, subject-to-subject transitions, scene-to-scene transitions, aspect-to-aspect transitions

Number 6, non sequitur transitions will not be used for this assignment. The different types of transitions can also affect pacing, such as moment-to-moment transitions which are marked by sketches of time, and aspect-to-aspect transitions which stop time.

Aside from the different types of transitions being explained, we were also being introduced about closure. The usefulness of closure is that it allows a creator to be economical in storytelling.

Fig. 2. Closure

Lecture/ Tutorial- Week 8 (17 October, 2017): Stippling exercises

On our eighth week, We were given an exercises where we make our own brush and do stippling with out created brush. This exercise is useful in the later on making of Graphic Novel.

Fig. 3. Making my own brush

After we made our own brush, we started our exercise by drawing an object but with stippling techniques. This week is where we were introduced and learnt the different shortcut keys of the Wacom tablet. The reason we learn how to use the tablet is because to make our work easier. This exercise also is a good way to learn lighting and shadows.

Fig. 3.1. Stippling exercise

After we are done drawing with the use of stippling technique, Mr. Hafiz shown us how to color in photoshop. We can digitalize our drawing in photoshop and color it there. The coloring technique that is shown also is by using the blending mode in photoshop. Below, figure 3.2. is where I color my own stippling drawing with the help of the blending mode tool. I used multiply, hard light, hue and divide blending mode. I also adjust the opacity of some layers.

Fig. 3.2. Coloring exercise using blending mode in photoshop

Lecture/ Tutorial- Week 9 (24 October, 2017): Transitions exercise

On our ninth week, We were given an exercises where we should categorize what transitions that can be found. This exercise is done to test our knowledge in order for us to able to differentiate the different transitions this is useful to point out the transitions that we are making in Graphic Novel.

Fig. 4. Transitions exercises

REQUIREMENTS:

You are to produce a series of animated (gif) graphic novel panels based on your selection from Edgar Allan Poe's stories or poem (https://poestories.com/).

Example: Boulet's Our Toyota Was Awesome - (http://english.bouletcorp.com/2013/10/08/our-toyota-was-fantastic/)

What to illustrate: Any 3 transitional moments
You will refer to the story and translate it to suitable transitions.

Amount of Panels: 6 Panels min
The graphic novel shall demonstrate at least three from the five types of transitions (except for Non Sequitur). Each transitions shall have a minimum of two panels. Therefore 6 panels in total.

Software: Photoshop/ Illustrator

Size: 950 x 323 pixels max each transitional set
The canvas size of each set of panels shall be no wider than 950 pixels and no higher than 323 pixels

REFERENCES:

- https://understandingcomics177.wordpress.com/about/1-2/2-2/
- http://thunderpaw.co
- http://english.bouletcorp.com/2013/10/08/our-toyota-was-fantastic/
- https://www.buzzfeed.com/kevintang/20-insanely-talented-gif-illustrators-you-should-follow? utm_term=.gvPrgMzQda#.lfpD4BYZx3

WORK PROCESS:

I began my assignment by searching a poem or a story from Edgar Allan Poet's Website. I found 'The Raven' as my poetry because I find it interesting and easy to understand. The flow of the poem have different transitions which I find it easy for me to illustrate later on.

The Raven

by Edgar Allan Poe

(published 1845)

Once upon a midnight dreary, while I pondered, weak and weary,

Over many a quaint and curious volume of forgotten lore,

While I nodded, nearly napping, suddenly there came a tapping,

As of some one gently rapping, rapping at my chamber door.

"'Tis some visitor," I muttered, "tapping at my chamber door-

Only this, and nothing more."

Ah, distinctly I remember it was in the bleak December,

And each separate dying ember wrought its ghost upon the floor.

Eagerly I wished the morrow;- vainly I had sought to borrow

From my books surcease of sorrow- sorrow for the lost Lenore-

For the rare and radiant maiden whom the angels name Lenore-

Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain

Thrilled me- filled me with fantastic terrors never felt before;

So that now, to still the beating of my heart, I stood repeating,

"'Tis some visitor entreating entrance at my chamber door-

Some late visitor entreating entrance at my chamber door;-

This it is, and nothing more."

Presently my soul grew stronger; hesitating then no longer,

"Sir," said I, "or Madam, truly your forgiveness I implore;

But the fact is I was napping, and so gently you came rapping,

And so faintly you came tapping, tapping at my chamber door,

That I scarce was sure I heard you"- here I opened wide the door;-

Darkness there, and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,

Doubting, dreaming dreams no mortal ever dared to dream before;

But the silence was unbroken, and the stillness gave no token,

And the only word there spoken was the whispered word, "Lenore?"

This I whispered, and an echo murmured back the word, "Lenore!"-

Merely this, and nothing more.

Back into the chamber turning, all my soul within me burning,

Soon again I heard a tapping somewhat louder than before.

"Surely," said I, "surely that is something at my window lattice:

Let me see, then, what thereat is, and this mystery explore-

Let my heart be still a moment and this mystery explore;-

'Tis the wind and nothing more!"

Open here I flung the shutter, when, with many a flirt and flutter,

In there stepped a stately Raven of the saintly days of yore;

Not the least obeisance made he; not a minute stopped or stayed he;

But, with mien of lord or lady, perched above my chamber door-

Perched upon a bust of Pallas just above my chamber door-

Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,

By the grave and stern decorum of the countenance it wore.

"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,

Ghastly grim and ancient Raven wandering from the Nightly shore-

Tell me what thy lordly name is on the Night's Plutonian shore!"

Quoth the Raven, "Nevermore."

Much I marvelled this ungainly fowl to hear discourse so plainly,

Though its answer little meaning- little relevancy bore;

For we cannot help agreeing that no living human being

Ever yet was blessed with seeing bird above his chamber door-

Bird or beast upon the sculptured bust above his chamber door,

With such name as "Nevermore."

But the Raven, sitting lonely on the placid bust, spoke only

That one word, as if his soul in that one word he did outpour.

Nothing further then he uttered- not a feather then he fluttered-

Till I scarcely more than muttered, "Other friends have flown before-

On the morrow he will leave me, as my hopes have flown before."

Then the bird said, "Nevermore."

Startled at the stillness broken by reply so aptly spoken,

"Doubtless," said I, "what it utters is its only stock and store,

Caught from some unhappy master whom unmerciful Disaster

Followed fast and followed faster till his songs one burden bore-

Till the dirges of his Hope that melancholy burden bore

Of 'Never- nevermore'."

But the Raven still beguiling all my fancy into smiling,

Straight I wheeled a cushioned seat in front of bird, and bust and door;

Then upon the velvet sinking, I betook myself to linking

Fancy unto fancy, thinking what this ominous bird of yore-

What this grim, ungainly, ghastly, gaunt and ominous bird of yore

Meant in croaking "Nevermore."

This I sat engaged in guessing, but no syllable expressing

To the fowl whose fiery eyes now burned into my bosom's core;

This and more I sat divining, with my head at ease reclining

On the cushion's velvet lining that the lamp-light gloated o'er,

But whose velvet violet lining with the lamp-light gloating o'er,

She shall press, ah, nevermore!

Then methought the air grew denser, perfumed from an unseen censer

Swung by Seraphim whose footfalls tinkled on the tufted floor.

"Wretch," I cried, "thy God hath lent thee- by these angels he hath sent thee

Respite- respite and nepenthe, from thy memories of Lenore!

Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"

Quoth the Raven, "Nevermore."

"Prophet!" said I, "thing of evil! - prophet still, if bird or devil! -

Whether Tempter sent, or whether tempest tossed thee here ashore,

Desolate yet all undaunted, on this desert land enchanted-

On this home by Horror haunted- tell me truly, I implore-

Is there- is there balm in Gilead?- tell me- tell me, I implore!"

Quoth the Raven, "Nevermore."

"Prophet!" said I, "thing of evil! - prophet still, if bird or devil!

By that Heaven that bends above us- by that God we both adore-

Tell this soul with sorrow laden if, within the distant Aidenn,

It shall clasp a sainted maiden whom the angels name Lenore-

Clasp a rare and radiant maiden whom the angels name Lenore."

Quoth the Raven, "Nevermore."

"Be that word our sign in parting, bird or fiend," I shrieked, upstarting-

"Get thee back into the tempest and the Night's Plutonian shore!

Leave no black plume as a token of that lie thy soul hath spoken!

Leave my loneliness unbroken!- quit the bust above my door!

Take thy beak from out my heart, and take thy form from off my door!"

Quoth the Raven, "Nevermore."

And the Raven, never flitting, still is sitting, still is sitting

On the pallid bust of Pallas just above my chamber door;

And his eyes have all the seeming of a demon's that is dreaming,

And the lamp-light o'er him streaming throws his shadow on the floor;

And my soul from out that shadow that lies floating on the floor

Shall be lifted- nevermore!

I started with making the mind map after reading the poetry that I chose. This mind map will help me understand the poetry better wherein I can point out what is the significance of the story.

Fig. 5. Mind Map of The Raven Poetry

Fig. 6. First Reference Board

Fig. 6.1. Second Reference Board

Fig. 6.2. Third Reference Board for color

Fig. 6.3. Forth Reference Board for the character

Fig. 7. First Sketches

Fig. 7.1. Second Sketches

Fig. 7.2. Third Sketches

After consulting my drawings to Mr. Hafiz, he suggested that I will add more panels in my transitions. He also gave me so many ideas. Aside from that he reminded me to have a composition, have a different view/ angle and use the rule of third. Below are the sketches that I revised. The transitions that I have in my sketches are subject to subject, action to action and moment to moment.

Fig. 7.3. Forth Sketches (Revised)

Fig. 7.3. Fifth Sketches (Revised)

The second I consult to my lecturer he also gave me opinion to add more panels so that it can be seen the transition smoothly. Below are my final work that I have compiled it into one.

Google drive link: https://drive.google.com/open?id=1UkJx9mmwQTjxpFdLmHcfVld8T2GuhguR

Fig. 8. Compilation of the panels from the three transitions

Nowadays, comic should be animated even just a slight one. We can animate the words and also the lighting. Below are all the panels that I have animated it.

Subject to Subject Panels: