As the end of the semester draws near, it is no surprise that my class and I have been given some large scale projects. Projects that require the knowledge and skills that we have learned up until now. This time, we were put to the task of creating a five panel comic that depicted a piece of a creation story of a culture. In addition to our artistic skills, the project would require our research, comic, and understanding of art principles which is why it is important as an end of the year project.
For a quick overview of the story and design choices, the whole thing was based off the Kono Creation Myth. The part of the story that I chose to adapt was when one of the Gods needed to ask something of another but did not want to confront them personally. I chose this part due to large amount of characters that were present at the time, specifically the Rooster and the Tou Tout bird. As the only art I could base my comic style on was masks from the Kono people, I know that I would have to rely on human figures with masks to show the relevance to the original culture. I also wanted to see the different designs I could come up with based on what little information I had.
Looking past my process and onto the piece itself, you can see that there are some color coding and different principles at work here. As you move through the comic, the main color switches to a green and brown, to purple. I really wanted to convey the separate locations and themes around the different entities. However to keep the sense of it all being connected, I used the color red in some form of another in each panel. This created a constant that helps hold the piece together. Another thing that helps this is the consistency of the lines. While they are not completely even weight lines, the lines act the same throughout the piece beginning more union to it as a whole. I also applied a little bit of closure on the middle right side. I did not want to put borders around the top and bottom panels as they featured the main Gods in the story and boarders would subconsciously downplay their power. So I placed and blended the other boarders and colors to create some closure, creating non existent implied borders instead.
Overall in terms of how I set up the comic, and looking back to reference “Understanding Comics: The invisible Art” by Scott McCloud, I set it up as “action to action” shots. In each new panel, there is an entirely new thing going on, and for the the most part and entirely new scenery. I felt that in this context, action to action would be best as there is not much in the way of minuscule details happening in the story. The part I chose was more of a transfer scene in the grand scheme of things. Some new characters were introduced, however it was all just for the greater goal of confronting the God Sa. This feeling of quick transition als leads to why I chose the distance between the panels or getters. As you can see there really are not any, aside from the space between panel three and four. Once again I did this to show the quickness of the transition. There was to be no dramatic pauses or dragged on scenes. The only reason I put a gap between panel three and four was to show that some time has passed as the Rooster and Tou-Tou bird run to the God Sa.
In the end, this project has done a lot to show me how far I have come and will be a good reference to future projects. I now have a better understanding of the challenges of adapting something into a different medium in a clear manner, something I will surely face in the future as an animator. It also helped reinforce more of the character design and drawing on “mark” that is also crucial for all future projects in my career. When all’s said and done, this was quite a worthwhile project.
McCloud, Scott. Understanding Comics: The Invisible Art. New York: Harper Perennial, 1992. Web.
“Death, and Life and Death.” Creation Stories. N.p., n.d. Web. 20 Apr. 2017
Ulli Beier, 1966, The Origin of Life and DeathÐAfrican Creation Myths: London, Heinemann Educational Books Ltd., 65 p. (GR355.B4)