LO4: Production and Evidence of manipulation of final comic

To create the comic, I chose to use the drawing software Procreate on iPad. The app is optimised for digital illustrations and comics, with various brushes for sketching and inking at my disposal. It is an affordable software mostly used by freelance and indie artists to produce content for online spaces. I used a standard A4 canvas for the pages as I wanted it to be suitable for both print and online publications. 

I started off by drawing a general border that will be followed throughout the comic pages using the drawing guide feature that let me draw precise straight lines with proper measurements. I then sketched the initial ideas in blue. This was to be able to differentiate between the initial ideas and the refined sketches and final product, i.e, it helps see the black or darker coloured lines that will be laid on top. I made these sketches based on a previous panel layout, which I was ultimately not satisfied with. I used a sai ink brush with a low opacity for the sketch.

                    

Here, I made the detailed/refined sketches by adding details, facial features and other necessary details for the line art. Here, I also switched up the panels based on the final panel layout. Especially for the first page, I made sure the panels in the middle were different than the second page. The jagged/ asymmetrical panels that went out of the established border also helped emphasise the action, compared to the panels on the second page. This also allows the readers to feel the emotions and urgency the characters are feeling in this scene and the narrow panels show how quick the action is taking place. Though, I believe the widening of the panel in which the direction the protagonist is running sets up the scene and movement of camera angles for the next panel as they act as leading lines. On the second page, I chose to have the protagonists head overlap the lines of the panel to make her stand out, connoting her importance. The smaller vertical panels on the last page show how fast the scene takes place while still giving the readers the dramatic layout of actions that take place. 

                    

These are the inked and base coloured pages. I used the same sai ink brush for the line art but with a higher opacity and smaller size for a controlled shape. I made sure the base colours were consistent throughout and the tonal variations will be done using overlay layers and gradient maps. I used the lasso tool with the ellipse shape to make the round speech bubbles and an outline brush for the connector lines. I used the font called 'Jack Armstrong BB' which is an inbuilt font in the software. Here not only had I already inked and coloured the pages, but had also included the backgrounds. For some, like the first and third page, it was a simple gradient. While for the second page (and some panels of the first), I had to make detailed backgrounds. As previously mentioned, I used royalty free images for the second page but I made some brick details on the first page using brushes available in comic book brush packs. Here, I had the first drawing on the first page also overlap the panel underneath to add dimension to the page. On the same page, I added some varying values and gradients to the background to give an illusion of depth and to also emphasise the planned effects. For the last page, I chose to have simple backgrounds despite it being in the same setting as the second page. The second page introduces the readers to the location that the scene is taking place in due to the obvious dramatic shift in location. Hence, I have included a wide shot of the location and the close up, showing the interiors of the room like the desk, curtain, etc. The third page has a simple background as it aims to emphasise the actions and series of events that take place. There is no need for detailed backgrounds as it is a direct continuation of the last scene which is conveyed through the same characters, attire and colour scheme, unlike the first two pages. 

                    

These are the cell shaded pages. Since the settings and scenes had dramatic lighting, I used 'Add' layers to shade the parts that are directly exposed to light and 'Multiply' layers for the shadows. I made sure to use the same colours throughout to maintain consistency. While I was satisfied with these results, I thought they looked dull, especially the second and third pages. Some choices for the colours and placements of the costumes and locations were intentional. I chose to use significant items that the character would use to show their interests, personalities and period they live in. For example, the book/notebook on the desk shows that the protagonist/Ira is interested in reading or enjoys studying. The quill also connotes the same but also tells the readers the period it takes place in. The flowers in the vase are gladiolus flowers that symbolise strength of character, faithfulness, moral integrity and bravery. The dress Ira wears in the last two pages resembles a medieval night gown worn by royalty and aristocrats. Similarly, the other woman/her sister wears period clothing in a purple colour that connotes creativity, royalty, ambition and luxury, which is a reflection of her traits and role in the story. The difference in lighting is not only to differentiate between the pages locations but also the time of day. The first page takes place at night, hence the dark blue and purple hues, while the second and third pages take place in the morning and has yellow tones.

                    

These are the final versions of the pages. I duplicated the entire page and used various gradient maps that were similar to the existing colour palettes, set them to overlay and reduced the opacity. This helped harmonise the colours and make the page cohesive. I also then experimented with the colour curves to get the desired effect. I then duplicated the finished comic page, used gaussian blur and reduced it opacity to give a slight glow. Below are the final comic pages.