Christoffer's Graphic Storytelling Blog 101

Friday 11. September 2015 Jim Medway wanted us to make a six panel comic using three things: an animal, an occupation and something random. Each person had to write and animal, occupation and something random on three pieces of paper and put them blank side up on a wall, then we were to pick a piece of paper from each category and make a comic from it. So, my words were Seal, Bouncer and Segway. A very rude fish-guy is trying to get into the hot party club, but the bouncer seal won't allow him to get in. Things escalate.

Design week with the one and only super hardcore Lawrence Marvits. First abstract illustration is my personal representation of what 70% dark chocolate tastes like. (it's a tad too even in shape) Next image is of what I thought a 1959's Jazz Album sounded like. (a bit too detailed and busy, shape's still a little stale) Third is a dynamic illustration of the Frankenstein story by Mary Shelley. (shapes are good but the composition is off) Last is an illustration of Pirates of The Caribbean. (the boat's too big, steals away the vocal point which should've been the little Capn. Jack Sparrow)

Character designs drawn during Barbara Slade's Story Telling lectures. Getting properly acquainted with the traditional storytelling forms and character arcs was a joy. My story is fairly straight to the point; A misunderstood monster is chased away constantly by human adults but finds a friend in a little kid who adopts him as a pet. Chenanigans ensue.

Part of this assignment was to make two pages out of written text with no visual references. The first two pages are inked by myself and the smaller two pages were done by one of my classmates, Tina Burholt. I'm aware there's a severe lack of speech-bubbles and text, but it was un-needed in this case, however, it was a solid exercise and very good lecture about placement and planning for text and speech-bubbles.

B&W pages done from the Peter Pan Novel where Wendy reveals she is now an adult and Peter Pan takes off with her daughter Jane. Mårdøn allowed us to have the liberty to tingle with the original story structure as long as it was still faithful to the core elements; Peter arrives, gets upset, leaves with Jane. It was a requirement to try to replicate the style of a certain comic book artist. Sketch Versions

September 2015