This work is half of a two-part assignment on the creation of sequential art,
the process of creating a narrative through the juxtaposition of images and words.
the process of creating a narrative through the juxtaposition of images and words.
We were asked to create two pieces consisting of at-minimum three images,
adding contextual meaning to a poem of our choosing.
adding contextual meaning to a poem of our choosing.
I chose to utilize my own poetry for these pieces. I wrote Smile some time ago,
and was quite excited to utilize it in an art piece. I really wanted to exemplify the gritty,
firm feeling of the poem, so I decided to work with a similarly restrictive art style.
and was quite excited to utilize it in an art piece. I really wanted to exemplify the gritty,
firm feeling of the poem, so I decided to work with a similarly restrictive art style.
Line art isn’t my strongest suit, but this was certainly a good opportunity to improve.
The cell-shading style is similarly tricky, but I think it turned out quite well overall.
The cell-shading style is similarly tricky, but I think it turned out quite well overall.
I knew I wanted to convey a sense of flow and motion from panel to panel,
creating something dynamic and interesting to the eye.
creating something dynamic and interesting to the eye.
The idea of using hands to break the typical restriction of the comic gutter was simply logical— hands are naturally very expressive— and therefore something our eyes
are instinctively drawn to.
are instinctively drawn to.
Emphasis and flow are important to me in writing, and they are no less vital in design. Every sentence has a rhythm, and so should every art piece. By critically considering
the placement of the words, and the content of each frame, I could create a natural line
of sight through the panels.
the placement of the words, and the content of each frame, I could create a natural line
of sight through the panels.
This is most evident in the fifth and sixth panels, where the words are placed in a terraced diagonal, guiding the eye from the upper right to the lower left.
Similarly, the singular blacked-out panel and the choice to divide the face in the bottom panels were done specifically for emphasis. The blacked-out panel merely had important text— a beat of rest for the eye as it travels down the page.
The face, in contrast, was something far more vital to the piece as a whole. That smile was the punctuating note of the poem, and the image needed to reflect that importance.
Enlarging the face while leaving the aspects divided allowed for a clear visual hierarchy, while preventing the viewer from getting off-pace with the rhythm of the poem.
Smile was a challenge, but I’m certainly proud of the finished product.
There is a bit of flashing near the end of the time-lapse due to toggling layers.
Please be mindful of your health.
Please be mindful of your health.
