Defining Steps in a Personal Production PipelineMy Amphiox short comic is an exercise in art production. Up until I attempted it, I'd never really done much longform comic storytelling. Most of my practice was in one- or two-page micro-stories. I chose 48 pages as a...
Character Redesigns and Styleguide Revamps
As I’ve been thumbnailing the script of Warlock’d as my self-assigned work during Sequential Artist Workshop‘s Graphic Novel Intensive, I’ve also had to sit and revisit my comic’s styleguide. There has been some character shuffling as my previous script draft evolved and became thumbnailed. I believe some of my earlier designs that I had prior to taking this course are too literal. I might take advantage of some stylization to not only make these people easier to draw, but also make them look more interesting as well! Here’s how my redesign process has gone for each of the three main characters in Warlock’d, with different goals and style considerations for each.
As I’ve stated in earlier blog posts, my initial pipe dream was to create a very painterly comic. This met a swift end with the realization of how much revision goes on with my writing process, even in the midst of creating art. Working by myself and wearing all the hats is a lot different from being on a team. On a team, I have to accept the contributions of the other professionals as-is, and I only have input over my specific area of focus. As an indie comics artist doing all of the things, I have the power and freedom to change things if they aren’t working whenever I want…But if I don’t make it easy to change things, then I’m hampering myself.
Here was my second attempt at a comic style, for use in a pitch packet. I decided to wing the colors and coloring style, which resulted in very messy colors. The feedback was to simplify and stylize my characters more.
Here is a page that was done in the same style as above…Results were muddy! Additionally, I didn’t have a set number of concrete steps to take to get the page to a ‘finished’ state, so some things would get lots of detail and shading, where others would not, and there wasn’t really a system to it. I was glad to get feedback on this so I could make it better.
With all of this in mind, I set out to further simplify and code my process as a series of specific steps. First thing on the docket was a pre-defined palette for use throughout the entire comic. I simply cannot be trusted with purple, as it turns out. So, I drew inspiration from the limited palette of medieval illuminated manuscripts. They didn’t have access to purple, so neither would I. Instead, I would rely more heavily on a medieval person’s favorite colors: Reds, golds, greens, and in special cases, blue.
The result is much more clean, more vibrant, richer and simpler. Also it’s easier to put together. Really, portfolio reviews are worth it.
The yellow robe on Pierre proved difficult to make clear within the context of a comic panel. I’m not sure why, but I think it’s because my backgrounds are typically very light on the contrast scale. I swapped his cape interior and his robe to make the yellow something he could discard for scenes where it would be unclear. The reds and yellows have practical significance (He’s able to afford fancy dyed cloth), as well as spiritual significance (He’s been assigned the medieval zodiac sign of the Sun, which is a bearer of good and bad signs, and the sign of kings and rulers).
This did get me to thinking, though — how committed did I want to be to such literal character designs? The environments are one thing — I really enjoy developing the details on those and getting the perspective all lined up. But the characters…Do they have to hew so close to real people? Also, what if I find feet really annoying to draw? What if I want to quickly see how tall all of the characters are? I developed my next round of character designs with this consideration in mind. Preview only for now, but I’m hoping to have a post cataloguing each character in the story next month.
In my re-write, I’ve incorporated the new character of King Phillip II. Since I have a compelling scene near the end that features this king, I need a design for him. Here I wanted to explore telling the audience as much about this character as possible from one glance, since he’s only physically present in one scene and it’s at the end.
Where am I going with all this?
Frankly, not quite sure just yet — this is all pre-production work. I may alter the designs if they offer unforeseen challenges during the roughs stage of drawing the comic, which will happen after lettering. It’s nice to have a starting point, though!
While I’ve been writing Warlock’d, I’ve made use of many books to help inform the details of the speculative world in which it takes place. Without the following resources, I’d have never even thought about the political structures, architecture, culture, diet, or technology of the 12th century. While my comic will not be historically accurate, I found the following resources inspiring and important for filling in empty spaces in the setting. I don’t believe in strict accuracy when it comes to fiction, but it sure is fun to be curious and find cool things to bring back to the manuscript.
As of writing this all of the following resources are freely available online for anyone else who is interested in this time period.
Going Medieval – by Dr. Eleanor Janega, medievalist
JSOTR – Sometimes has free access to primary historical resources.
Goodreads – A compilation of print books that I’ve read. Most of these are available at a library. Hope the reviews are of some use.
Mandragore – Searchable database for old manuscripts — it’s in French so it takes some finessing to figure out.
Gallica – More French manuscripts, and other vintage oddities.
Care to read more?
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