Rationale
It seems that everyone's been posting their Siglo: Passion pages, so I might as well do so.
Style-wise, it's the first time for me to try the "distressed" look in the pencils with no inking whatsoever, and the first time for me to use full computer colors. The grid I used is a basic nine-panel, breaking it only as needed, and the thick panel borders are meant to suggest a suspended atmosphere, with each panel serving as a snapshot, like individual pieces in a photo album. Dialogue is rendered without balloons to support this atmosphere.
Apart from the reason that I'm not too confident about my coloring, I used mostly monochromes of brown, orange and red to convey a sense of stasis. Because the thick borders can affect the smooth reading flow, the monochromes also assist in the "movement" between panels.
The Palawan 1944 story has a strange love triangle going on, set during the latter part of the Second World War when the might of the Japanese army was beginning to wane. A couple of small details in the story actually happened, which I took from the book Palawan: The War Years edited by my grandma.
This 14-page tale was a great venue for me to experiment with page design as part of sequential storytelling. As I've told a lot of workshop participants, a comics creator tells a reader how a story is meant to be read, and the reading process should be as smooth and unobstructed as possible. There are many visual tools availble to those who wish to explore their forms and effects.
It seems that everyone's been posting their Siglo: Passion pages, so I might as well do so.
Style-wise, it's the first time for me to try the "distressed" look in the pencils with no inking whatsoever, and the first time for me to use full computer colors. The grid I used is a basic nine-panel, breaking it only as needed, and the thick panel borders are meant to suggest a suspended atmosphere, with each panel serving as a snapshot, like individual pieces in a photo album. Dialogue is rendered without balloons to support this atmosphere.
Apart from the reason that I'm not too confident about my coloring, I used mostly monochromes of brown, orange and red to convey a sense of stasis. Because the thick borders can affect the smooth reading flow, the monochromes also assist in the "movement" between panels.
The Palawan 1944 story has a strange love triangle going on, set during the latter part of the Second World War when the might of the Japanese army was beginning to wane. A couple of small details in the story actually happened, which I took from the book Palawan: The War Years edited by my grandma.
This 14-page tale was a great venue for me to experiment with page design as part of sequential storytelling. As I've told a lot of workshop participants, a comics creator tells a reader how a story is meant to be read, and the reading process should be as smooth and unobstructed as possible. There are many visual tools availble to those who wish to explore their forms and effects.
Comments