Wednesday, 30 September 2015

Brian Meeting Week 4 Part 2

I had a class, in the morning where we discussed what our vision statement is. We learned that the vision statement and the research question are basically the same thing but the minor difference is that one is a question and the other is a statement. I spoke to some of my colleagues and provided reasonable feedback and even suggestions. I addressed that my idea has some problems and the non verbal approach may not be the most beneficial. However I addressed to them the idea of taking a non visual medium and interpreting it into a visual medium that can be accessible.

Here is the feedback from the group:
  • Don't go back, go forward.
  • What makes existing comics work?
  • Look at a comic called Hard Boiled.
  • Minimalist dialogue look.
  • Go forward to new ideas.
  • new format like a wall mural or series of paintings.
  • Continue doing media test, ideas and questions will arise.
  • I need to decide which is more important the adaptation of the concept story. I could do the someone but make the edges fuzzy and encourage lack of clarity and leave it up to reader interpretation.
  • They liked the idea of converting a non visual source screenplay into a visual medium.
Brian's Meeting 

The next day, I met Brain at 2.00 to continue our discussion from yesterday. I spoke to him about using the term "interpretation" and addressed my interest in science fiction. I mentioned to him that I like the idea of mashing up certain genres together to generate new concepts. Many artists have already demonstrated this concept before. Here are few examples by Garth Cameron Graham who made some illustration mashedup of fairy tales but with other genres:
I admitted that there was some restrictions with my idea of interpretation and I told him that I will continue with my media tests and practices. I justified why I think characters are important and why they should be prioritized over world building. I explained that films like Stars Wars focused on characters first before developing the worlds. I was worried if the idea I chose to do was already being used by another student. Brian reassured me that every project will not be the same. This time I felt more satisfied with his feedback and I had a understanding of what to do.

Reference

Graham, G. 2010. Steam Beast. [image] Available at: http://garthft.deviantart.com/art/Steambeast-163633318 [Accessed 1 Oct. 2015].

Graham, G. 2012. Wonderland Wars. [image] Available at: http://garthft.deviantart.com/art/Wonderland-Wars-294266842 [Accessed 1 Oct. 2015].

Graham, G. 2011. Cryonic Beauty. [image] Available at: http://garthft.deviantart.com/art/Cryonic-Beauty-264574750 [Accessed 1 Oct. 2015].

Tuesday, 29 September 2015

Comic Adaption Practice Progress: Referencing, Adapting and Roughs

With the announcement of a new Star Wars movie being released in December this year, I was slowly getting into the Star wars mood. This helped me motive myself when creating practical work. To explore where I was with producing comics, I decided to start a test where I would take a scene from a screenplay that did not make it into the final film as a way to see how I can adapt a form of literacy into a visual format.

This collection of images was from one of the deleted scenes from one of the Star Wars prequels where we get to see Padme's parents. I found it to be quite interesting because the get to see more of Padme's characters in it. To me, it was like a high school girl bringing her boyfriend for dinner. Sadly it was never used because it didn't really assist the plot in any way and that the certain things which were established were already addressed in later scene. I was planning to recreate this scene as a comic page but instead I decided to make it into a single panel. 

Here are a few sketches of how I could draw the characters in the deleted scene.


Deleted Scene Characters


Screenplay Line adapted in sketch


Rendered Test


Coloured and rendered test with speech bubbles with the Komika text font.


The flow in this panel was quite poor because I was trying to follow the source material in regards to staging and camera shots. I feel that it would be more suited if it flowed from left to right in a western comic style. Furthermore speech bubble placement is one of my weakest areas when making comics.


Original Rendered Panel


Original rendered panel with flow

However as you can see here I have some changes to correct the flow. I made another attempt at this media test. This time, I took another scene from the film and recreated it in the form of a comic. I wanted to visualize a scene from the film that never made it to the final cut. I took a look at the Art of Star Wars Episode II: Attack of the Clones (2002) and found out it actually had a screenplay by George Lucas and Johnathan Hales. I noticed in some sections of the story, there were scenes that were not the original film nor the deleted scenes on the DVD. However I understand that the prequels are very flawed in acting performance and script writing. Nevertheless I I still think Its worth exploring and hopefully this test will allow me to give a little bit of character to many of these character  who were portrayed poorly in the films.


Mood board featuring screenshots from Star Wars Episode 2



Rough Sketches


Page 1


Page 2

Rough drawings of the scene

I found this practical exercise to be quite a challenging because I had some problems with keeping the style consistent including the consistent placement of objects. I kept this restricted to 2 pages.

References

Star Wars Episode II: Attack of the Clones. 2002. [DVD] Lucasfilm Ltd: George Lucas.


Vaz, M.C., Lucas, G. and Hales, J. 2002. The Art of Star Wars, Episode II, Attack of the Clones. New York: The Ballantine Publishing Group.

Silent Comic and Flow Moodboards

Today, I went and collected some images of existing silent comics.From what I gathered in the mood board, comics without words still flow like normal comics. They can also vary in shape and length from comics lasting 3 panels to an entire page or more. I would like to see some examples of panels that are used to help engage the reader in the comic's story and subject and see if I can keep them engaged through visual means.

Comic Layout and Composition Mood Board 

Silent Comic Moodboard

This approach to telling story in comics doesn't restrict the art style. They range from being very simplistic stick figures to detailed paintings.

Image References


Silent Comics

http://www.creativebloq.com/comics/silent-comics-need-no-words-shine-10134740

http://mregaku.deviantart.com/art/TLoZ-1-Silent-Comic-369157167

http://www.gmanetwork.com/news/story/200717/lifestyle/manix-abrera-this-comic-book-artist-is-a-rock-star
http://silentreaper.deviantart.com/art/StupidFox-2-96408000

http://selfrescuingprincesssociety.blogspot.co.uk/2013/12/kickstart-this.html

http://penmen.com/wp-content/uploads/2014/09/2014-8-20-penmen-comics-webcomic-optimist-rain-umbrella-happiness.png

http://www.aloftstudios.co.uk/cc_webcomic_0005.html

http://gocomics.typepad.com/.a/6a00d8341c5f3053ef0133ece6b690970b-pi

Comic Layout

http://c0nn0rman43.deviantart.com/art/Blank-Comic-page-2-181190582

http://chrisoatley.com/comic-balloons-comic-layout/

http://rocketbot.com/tutorials/232/panel-flow-in-comic-layouts

http://www.examiner.com/article/5-tips-for-comic-book-art-composition

http://idrawgirls.com/tutorials/2012/01/27/how-to-draw-comics-page-layout/

http://rocketbot.com/tutorials/1075/layout-and-panel-design-in-comics-storytelling

http://www.idrawdigital.com/2009/11/tutorial-composition-and-page-layout/

Brian Meeting Week 4: Part 1

I met Brian yesterday on the 29th to discuss about where I am with my project. On Tuesday, I felt that I had burnt out a bit overthinking about what I had to do for my project. However I still took his feedback well. I pitched to him some key elements, I was wanting to work on for my honours project. However I feel that I was not as clear about my idea as I hoped.
I showed him Rich Werner's portfolio and drew his attention to a silent comic he made for a comic collection and used that to back up my key interests in silent comics.
While he liked the direction I was going in,  he believed that my approach to interpreting H.P. Lovecraft's work could be problematic as HP Lovecraft's work involves a lot of dialogue and written text in which the story can be properly told. The visual language of comics can be useful to establish the tone and setting of the story but his works can feature a lot of dialogue which would be difficult to convey though pictures alone. However, there are a few short stories such as Dagon (1919) and The Outsider in which a non verbal narrative could be provided.
I addressed some of my concerns for the project such as . He reassured me that I should consider the possible outcomes but in a smaller scale and aimed at some particular demographic.I feel that it would help in some way promote his work by proving a visual storytelling method hat many can access. The reason I was considering using non verbal narrative was to allow it to be more accessible  as diverse languages can have restrictions in regards to communication.I also told him of my findings in Scott McCloud's Understanding Comics: An Invisible Art (1994) , about how the visual language and visual communication are areas I showed great interest in.
I also showed him Thomas Cole's series of paintings , the Course for Empire which conveyed  the rise and fall of an empire. I told him I considered this because I perceived it as a form of sequential art. While I demonstrated that I was doing a few examples  of media test and practice. to reinforce my knowledge and critique. I believe that this framework would help me so. My plan of action to carry out a series of experiment and media tests and practice to build up a collection knowledge.  I just need to continue with what I am doing and provide justification for my choices. I soon learned that the reason I was stressed out so much was because the research question was acting a bit like a brick wall that I could not get past.
In order for me to move forward with my project, I had to overcome this. I think at times from what Brian advised me was that I was seeing the forest for the trees.
 I will need to look at additional comic adaptations that have been interpreted in different formats. Since I am considering a H.P Lovecraft's short story, particularly one called "Dagon" I should look at other comic interpretations and annotate what they have done already or how different they are from each other. I feel that adaptations are a good approach for my honours project because the original sources act as starting point.
At this point, I felt overwhelmed and  asked if we could carry on with the discussion another day. I was able to get some helpful advice from him but I was thinking that it was incomplete We decided to arrange another appointment for the next day and carried on from there and developed an action plan.

Monday, 28 September 2015

Project Idea: Comic about Local Legend

As I am planning to produce a canon of work, I wanted to produce a comic about a local legend told in Kirkcaldy. It was about a demon who lived in the ancient harbour of Kirkcaldy who was challenged by a wizard called Michael, to turn sand into rope. He failed and was banished underneath the sands of the harbour.  During the summer of 2014, I was thinking about developing an illustration depicting this tale. I started out with some sketches of how the demon could appear. I was hoping to keep the traditional demon traits but at the same time alter the appearance to make it stand out.


Early Sketches of the Demon from 2014



Rough Illustrations Composition Ideas From 2014

This story can be told through visual cues and symbols. This would enable me to visually tell the story without the need for dialogue or captions.

Fifecoastalpath.co.uk, 2015. Industrial | THE FIFE COASTAL PATH. [online] Available at: http://www.fifecoastalpath.co.uk/Industrial_1_18.html?name=royal_burgh_of_kirkcaldy&view=42 [Accessed 28 Sep. 2015].

Katlas, 2009. Kirkcaldy: a Hellmouth?. [Blog] Katlas Travel Blog. Available at: http://katlascreates.blogspot.co.uk/2009/01/kirkcaldy-hellmouth.html [Accessed 28 Sep. 2015].

Kirkcaldybook.com, 1999. The Kirkcaldy Book - KB Magazine Articles. [online] Available at: http://www.kirkcaldybook.com/modules/sections/index.php?op=viewarticle&artid=27 [Accessed 28 Sep. 2015].


Friday, 25 September 2015

Paintings in Sequence - Thomas Cole


I understand that sequential art does not always apply to comic strips but also to paintings. I plan to make a canon of work and one of these examples I considered was perhaps to tell a story I had in mind through single panels rather than in a comic strip. When I was in my HNC course at Carnegie College in Dunfermline. I learned about an American artist called Thomas Cole. I was fascinated by Thomas Cole's work as he showed the history of a an empire and provided us with visual cues that's tells us more about this world. Thomas Cole created a series of paintings which told of the rise and fall of a civilization. While the angle and perspective of these paintings change, it takes place in the same location and provides a story. The evidence of this is recurring images of the coast and the distinctive mountain through the series.

This YouTube video provided me with information about the artists and his paintings.


 The Course of Empire: Thomas Cole's Warning to America


The Savage State (Cole 1834)

This is the first painting of Thomas Cole's Course of Empire series. It depicts a primitive land where tribal man roams the wild lands. Here we can see a primitive human hunting a deer with a bow and arrow. In the distance we can see other hunters. We also see a primitive wigwam village with smoke in the centre. We can see that this civilization knows about hunting for feed and resources and has discovered fire. There are also canoes in the river in the distance showing us that this tribe has found methods of transporting across water. In short, we can see a civilization at a primitive stage.

The Arcadian or Pastoral State (Cole 1834)
Here we can see that small buildings are beginning to appear showing that this civilization under stands the way architecture works. Small settlements have appeared down at the shore and we can see a boat being built suggesting that these settlers also understand boat construction. We can also see a shepherd herding sheep. The environment still holds its natural state. In the bottom left we see an old man using a stick to draw equations in the ground suggesting that here are intellectual minds in the development stage. We also see chopped tree son both ends of the painting. We can see that the natural environment is slowly beginning to disappear as the trees are being cleared for farming and resources. We can see roads and mounted horses showing that this civilization knows how to use horses for transport and have constructed basic roads. The sight of farming and fishing boats helps give the impression that these people know how to feed off the land.

The Consummation of Empire (Cole 1836)
What I do like in this painting is how detailed the environment is. There is a great scene of scale and signs of this prosperous ours civilization such as the use of vibrant colors and large mass enveloped in warm lighting and colour. Large crowds of imperial citizens cover space there is to see their leader's return. From this we can see that he is popular and has a great stature. We can see that he is draped in a red cloak and his position in the crown is at the highest point not only to make him stand out but to show how powerful he is. However there are hints of its dark side as in the parade shown crossing the bridge. While it shows the leader of this empire returning he brings with him imprisoned people of a civilization elsewhere which has been defeated by this empire. However visually, this is difficult to see. The mountain from the previous paintings is visible but we can see that the civilization has expanded to that point and this would give us an idea of how vast this luxurious civilization has grown.


Destruction (Cole 1836)

While the previous painting portrayed a prosperous civilization then destruction shows the hellish destructive downfall of this once great nation. the water is more disturbed, the sky is full of fire and smoke. We see a headless statue where its damaged shield helps point the viewer's eye towards thee centre of the painting. Here we see enemy civilization coming into the conquer this city. All the ships we sawing the bay in the previous image are all destroyed with complete anarchy ensuing. The bridge also acts as a point which separates one side of the painting from the other. Its broken as well as off the architecture we saw previously. Throughout the painting there is death and madness. 
If there was one thing I would say that this painting done's do well is I cannot tell which side is which. 



Desolation (Cole 1836)

Here the empire has fallen and has been left for a long time. there is pillar that is overgrown with plants. The bay is calm. While mankind is absent nature has returned to the environment.There is also a sense that a new civilization will rise and take the fallen one's place.

I like how this story appears as a set of painting but are told in sequence. Each of them tells a narrative and gives visual cues of the civilization at each of it's stages of development. As they are large paintings, there are additional details that help tells us more about this civilization without the inclusion of printed text. I also like how it feels like an allegory to the way America has developed, ,taking influence from Roman architecture for its buildings such as the Congress building. Even the names "The Savage State" and "The Arcadian or Pastoral State" links to the name America gives its provinces. It's amazing how every single small minute details helps gives us more information about this world. Furthermore the spacing between the paintings helps give us a sense of time. While I do not plan to do a full digital painting exercise like this, I found the idea of illustrations created in sequence, quite helpful in visual story telling.

References

Bomboy, R. (2012). The Course of Empire: Thomas Cole's Warning to America. [video] Available at: https://www.youtube.com/watch?v=tA2bnof3-D8 [Accessed 24 Sep. 2015].
Cole, T. (1834). The Savage State. [Oil on Canvas] New York: The New-York Historical Society.
Cole, T. (1836). Destruction. [Oil on Canvas] New York: The New-York Historical Society.
Cole, T. (1836). The Consummation of Empire. [Oil on Canvas] New York: The New-York Historical Society.
Cole, T. (1836). Desolation. [Oil on Canvas] New York: The New-York Historical Society.
Cole, T. (1834). The Arcadian or Pastoral State. [Oil on Canvas] New York: The New-York Historical Society.



Saturday, 19 September 2015

Books Considered for Honours Project

Below are a series of books I've been considering to read for my honours project.
  • Eisner, W. 1996. Graphic Storytelling & Visual Narrative. 5th ed. Tamarac: Poorhouse Press.
  • Tonge, G. 2008. Bold visions. Cincinnati, Ohio: Impact.
  • Talbot, B. 2012. Grandville. Milwaukie, OR: Dark Horse Books.
  • Hernandez, E. 2013. Set the action!. Burlington, MA: Focal Press.
  • Bancroft, T. 2006. Creating characters with personality. New York: Watson-Guptill.
  • Solarski, C. 2012. Drawing Basics and Video Game Art. New York: Watson-Guptill Publications.
  • T. Byrne, M. 1999. Animation The Art of Layout and Storyboarding. Kildare: Mark T. Byrne.
  • The Lorax. 2012. [film] Illumination Entertainment: Chris Renaud.
  • Tonge, G. 2008. Bold visions. Cincinnati, Ohio: Impact.
  • McCloud, S. 2006. Making comics. New York: Harper.

Wednesday, 16 September 2015

Lynn Week 2 Feedback

Today, I presented to Lynn, my lecturer about what I have been working on. During the tutorial, we were instructed to create a mind map to write down questions we had for the honours project. Most of my questions were centered around character design, transmedia narrative and sequential art. From this, I discovered that I misunderstood the meaning of trans-media narrative. I assumed that adaptation was affiliated with the term "transmedia" as it can sometimes mean taking something from one media format. What I really want out of this honours project is to create a portfolio that displays my strengths and gives me the opportunity to improve my areas of weakness.

These are tasks I plan to do for next week is:
  •  Learn more about sequential art, it's meaning and look at what areas it covers.
  • Produce or plan a rough adaptation of a segment from a Star Wars screen play.
  • Explore different artists and analyse their art style.
Lynn was quite happy with me going in the direction of adaptations because she even said that each adaption will be different and she mentioned Alice in Wonderland based on its diverse audience range. There have many different variations of the same story and yet there is still space for more creative opportunities.
Some of the questions Lynn suggested that I explore were ; 
  • How can I adapt a novel into a comic book that can be verbal or non verbal?
  • What is the creative process for a comic and see how it has changed?
  • How can I take HP Lovecraft's detailed work and translate into a simplified visual medium?
  • What is the interpretation / adaption process and what should I take into account?
  • Also how can I make it appeal to a modern audience?
I also wondered how true should the adaption be, to the original source. The Lovecraft Anthology, Vol. 1 (2011)  is a series of stories written by HP Lovecraft reinterpreted into comics. They are not written but "adapted" by writers, along with artists who provide illustration and give their own illustrative twist on the Lovecraft stories while keeping true to the main plot of each storyI also like the concept of producing silent comics and I would like to see how close I can get to producing one. I asked Lynn if I could still include the research on character design as I still show great interest in this piece. I could include this in an adaption project as it does come into account of the adaptation development process. One suggestion Lynn made was to include it into my research question. Another idea she considered was "How does character design influence non verbal narrative in sequential art?"

References

Lovecraft, H., Lockwood, D., Edginton, I., Davis, R., Hine, D., Moore, L., Reppion, J., D'Israeli., Oakley, S., Culbard, I., Stafford, M., Gallagher, L., Hartman, D. and Duke, A. (2011). The Lovecraft anthology. London: SelfMadeHero.

Tuesday, 15 September 2015

Life Drawing Practice.


I attended the All the Young Nudes club which was a life drawing class in Dundee . Here I drew a series of drawings as a way to develop my skills in life drawing. It had been some time since I last did this. However as you can see, I am still needing more practice in this area.



Sunday, 13 September 2015

Week 1 Weekend - 11th to 12th of September

I was unable to make progress on my project during the weekend because I was taking part in a game jam as part of the Charged Hearts Exhibition at the Hannah Maclure Centre in Dundee. The event was enjoyable because I got to meet new people as well as see good friends again since the end of last year. My role in the team was as a 2D artist. Here I chose to produce the environment assets for our project. With the subject of Charged Hearts. I decided to go for an abstract approach to the background. I intended to take some shape influences from the human body to give a suggestion that the heart is near the lungs. I also produced simple concept art but I felt that I got carried away with producing this and spent most of my time working on them. It was a good experience as it helped me develop how I could produce tiled assets. However I feel like I could have done more. In future, I plan to spend less time on pre-production work during game jams based on the timescale we had to make the game. The good news however is we managed to produce a game at the end of the Game Jam event.

What I learned during this event:
  • Other ways that I could try and think outside the box. 
  • How to make efficient environment tiles.
  • How to use non-adobe products on my laptop.
  • How to be more efficient during game jams and what I should focus more on.
  • How to work as part of a team.

Wednesday, 9 September 2015

Week 1 - Initial Ideas

Lynn Meeting: July

For my honours project, I had a few ideas to begin with. During the summer, I took the opportunity to speak to a couple of the fourth year lecturers such as Brian Robinson and Lynn Parker. At the time, I was gearing towards doing a project focused on character design because it was a field I enjoyed learning about in Creative Research last year. Lynn gave me me some sound advice, where she suggested that I aimed at at a project where I focus on a range of fields that could help benefit me when it comes to looking for work. While I am free to follow this character design only project, I do not believe that it would benefit me in regards to employment because I was wanting to leave my final year at university with the ability to find work in a field that I am very passionate about.
I plan to avoid the idea of a concept art project because I am well aware that it is a very popular job role that is difficult to get work in. I have considered looking at a 2D Artist role but I will need to look at what companies are looking for in terms of a 2D Artist.
During high school, I used to work on simple comics as a hobby, I took a break from this to investigate other areas such as character design and concept art. The main reason why I liked to read comics was that it was a format that helped visualize and present ideas in a way that can be communicated easily to the user. I picked up a few books from the library. I  was keen to look at a few art books from films such as Frozen to see what techniques were used for producing concept art.  I was quite keen on working on a project that is focused in visual communication and this would also be an opportunity for me to develop a unique art style.



Mind maps I made prior to the meeting
Idea One

I worked using 3D low poly models last year as a way to show people my skills in producing  3D assets. Between 2nd and 3rd year, my understanding of 3D  modelling  improved but it was in 3rd year where I learned more of the 3D pipeline using software such as Mudbox.  This was a more efficient way of applying textures onto a model instead of taking it into Photoshop. The original idea for my honours project was to revisit my final creative project where I produced a roster of characters that belonged to factions within a story context. I developed their personalities, suggested through the use of colour, shapes and posture. It was also an opportunity for me to explore the idea of contrasting personality traits. I considered  revisiting a few selected characters to develop them further and improve  their design because I knew that there were a few flaws.
I also did the Spatial Constructs module where I grew confident using UDK to produce a 3D environment and import 3D assets into a an iterative environment. With this, I was wanting to model the characters I designed in Creative Research, into static low poly models.  I would then place them in a museum environment and have the player move around the environment and interact with them. Another addition to this that I considered was a map in which the characters would inhabit and provide information of the world. However I do not know very much about coding and so I have decided that this may be too difficult for me to develop for my honours project. Nevertheless I believe it was something to consider. For my final year at university, I wanted to do something that I was very passionate about and something that includes character design.

Idea Two

The second idea was to create a series of sequential pieces used to explore to what extent the concept of comics can be used as a form of visual language and narrative. I started looking at storyboards and animatics. While I have some experience of animation I prefer the idea of expressing the sense of time through panels. However, I enjoyed learning some of the principles of animation because as an artist, some of the principles can apply in single framed illustrations. Some of the principles I considered that I could apply to illustrations were balance, staging, arcs, overlapping, secondary actions and solid drawing. This idea could also allow me to work on my weak areas in drawing such as facial expressions,environments,perspective drawings and posture. It could also allow me to try and experiment with different art styles.
Based on what I've discussed with my lecturers. I see my project heading towards exploring visual language through comics as it also covers the fields I feel passionate about.

The other initial idea I considered for honours was a trans media project where I would the characters I made for Creative Research and develop a comic, an animation animatic, and or light novel. However based on my lack of knowledge on Transmedia Narrative, I decided that this idea may not be suitable.

 Meeting with Supervisor : Week 1

Brian gave me some feedback on some ideas I was considering.
  • Compare with other characters from different settings.
  • A retelling of a historical event,
  • A retelling of an existing pieces but done in a different format. I saw this more of a case study or from of practice.
  • Visual Aesthetic or universal language.
He believes that I can cope with a project that has a big scope, a unique visual style and be able to carry out many drawings to experiment and develop an art style.

We reflected on the following:
  •  graphic novel, what other frames can I find? 
  • How they are laid out? 
  • look at what already exists. For examples, primary children if I am going  to produce something for kids. 
  • If there is a technical learning difficulty and how I can approach producing a book for that practical research learning theory and be aware of some of the choices I make. 
  • If I am going to make a comic or story for kids who have difficulty reading then I would need to explore various forms of learning theory for that particular audience.
  • I even considered with him what techniques I could use. 
  • I suggested that I would try to use 3D objects as a way to produce a perspective environment. 
  • Since in honours it was encouraged to try and cut corners. I think that this would work as a test. 
  • He recommended that I look at Fleischer from the 40s. In addition, he told me about a student who worked on using gutters in comic to assist it's narrative.
  • He suggested that I look at comic artists/authors  and ask myself why they were drawn in a certain style, how they tell their story, how they think of their story and how they got their inspiration, 
  • What do they use as visual language and why they chose comics as a medium?
In connection to this, I am quite keen to produce a graphic novel that can fit within the scope of my honours project. I see that it could be an anthology of short stories that provides storytelling in different ways and or retelling of something that people are familiar with.

I do like the idea of interpretation using an existing story but by applying my visual style as a way to present it into a different format. One idea that came to mind was a H.P. Lovecraft short story called Pickman's Model (1926). He concluded by saying that I can explore the form of visual language through a canon of comics.

Here is a list of how I want to spend my days in fourth year.
  • Draw, develop and understand the pipeline. 
  •  Passion about creating story worlds. 
  • Creating characters, 
  • Producing sequential art
  • Props. 
  • Improving areas. 
  • Improve colour theory.
  • Improve my approaches to design. 
  • World building
  • Develop my visual voice and expression
I have also thought about some ideas about how I can do some form of practice. During my summer holidays, I made some art prints for upcoming conventions. The reason I was doing thiese was not only as a way to show people my work and build up my portfolio but to also understand the latest trends in entertainment. I found this to be a efficient way to keep my self up to date with current trends.