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APPENDIX 3: Marvel Method collaboration: Soldier Legacy’s Strange Tales
The Soldier Legacy , related images and illustrations © Paul Mason.
All images and characters © Their respective copyright holders, and included as examples of concepts and ideas discussed within
the body of thesis. For educational purposes only.
3.01
1
3.02
209
Figures 3.01 - 3.03: Original thumbnail sketches of page layouts, based on plot discussed by
Chris and I for Part 1 (of 3 part story). These layouts changed on discussion, such as the
examples of Figure 3.03 in relation to Figure 3.04 below).
3.03
3.04
210
Figure 3.05 (All images):
This page features a
sample of reference
images gathered for
environments and
character designs for
those characters and
locations featured in the
story, including Australian
Militia soldiers (Victorian
Mounted Rifle men)
formed in 1885. Story is
set in 1887.
211
3.06
Figures 3.06 - 3.08: Cleaned up finished pencils (page 1-3 of 6) from part 1, left “open” (i.e.: no
inking spot blacks) for colouring.
212
3.07
213
3.08
214
3.09
Figure 3.09 – 3.11: Pages 1 -3 digitally coloured. These were then sent to Chris to dialogue.
215
3.10
216
3.11
217
3.12 3.10
Figure 3.12: The cross over with another Black House Comic title (Dark Detective: Sherlock Holmes)
meant an 1880s version of the Australian hero from my comic book series had to be created. (See
reference images from figure 3.05)
218
3.13
Figures 3.13 – 3.15: Lettering guide pages (1 to 3 of 6) sent back from Chris, featuring
dialogue- word balloons, caption boxes and Sound effects (where applicable) were indicated.
Wording needed to be emphasised in ‘bold’ was often given over the phone as I lettered the
dialogue balloons, or after I sent the draft lettered pages.
219
3.14
220
3.15
221
Figure 3.16: Notes from phone discussion with Chris regarding Part 2. Not all the story beat ideas
ended up fitting/translating in the final 6 page layout, but the core ideas were kept. The last page
indicates the idea of a Dr. Nikola one-shot.
222
3.17
3.18
Figures 3.17 & 3.18: Thumbnails of poses and possible layouts/panel compositions for Part 2,
based on plot (3.17). 3.18 is page 1 and 2 of the roughs sent to Chris for approval of pacing and
story.
223
Figure 3.19: Rough pencils/Work in progress of page 5 (of 6) from Part 2, before clean ups
occurred.
224
Figure 3.20: Top of page 4, cleaned up. Until I had upgraded to a A3 scanner to scan the 11” x
17” blue Line art board comic pages used to draw the sequential pages on, I had to rely on an A4
scanner, meaning pencilled pages were then joined up in Adobe Photoshop before darking levels
and colouring could occur.
225
PAGE 4
1
NIKOLA
Learn what years of physical
discipline can deliver, fool!
HAI!!!
2
SOLDIER
UNF!! I’ll be the one doing the
teaching, Doctor!
3
SOLDIER
Damn! Where’s Smeight – I need to
find out if-
4
NIKOLA
If he knows who killed your friend?
He DID that himself, you idiot!
5
NIKOLA
Which is why he’s escaping!
6
SOLDIER
Seems you have a point.
7
NIKOLA
Then let’s shelve our differences.
8
SOLDIER
But that stone goes back to my dead
mate’s family, understand?
9
SOLDIER
Blimey – look at this hole in this
factory wall!
10
3.21
226
NIKOLA
There are stories about what
happens if the ring is properly
‘charged’..
11
SOLDIER
What the flaming Hell are you
talking about?
12
NIKOLA
Smeight may have charged it - with
the LIFEFORCE itself.
PAGE 5
1
NIKOLA
I’d recommend extreme care.
2
SOLDIER
You need care alright!
3
NIKOLA
We need to stop…
4
NIKOLA
…strategise…
5
SOLDIER
Are you daft? He’s here somewhere!
6
SOLDIER
I’ll box your damn ears in-
6b
227
3.22
Figure 3.21 (previous pages): Two page sample of Chris’s dialogue script, based on the
pencilled/semi-coloured pages of illustration I sent as I worked.
Figure 3.22 & 3.23: Word balloon/sound effect placement guide to accompany the dialogue
script. Completing it in this method meant not only less errors coming from misunderstanding in
handwriting or visibility issues (that come from the pencilled overlays used in Part 1, but also
quicker lettering time, as I could copy and paste lines of dialogue, rather than having to re type.
228
3.23
229
Figure: 3.24 & 3.25: Colouring work in progress from pages 4 and 5 of Part 2. Also shows where
attempt is made to differentiate a scene change by colour by using a dominate colour in the
environment.
3.24
230
3.25
231
PAGE _5
PANEL _1:
SMITE
Ye cheeky beggars!
PANEL _2:
SOLDIER
Whew! Can’t remember the last time I
threw like that!
PANEL _3:
NIKOLA
Indeed. But we still have pressing
concerns…
3.26
3.27 Figure 3.26 & 3.27: Lettering guide and sample dialogue script piece from Chris for Part 3, based on
pencils sent via email.
232
3.28
3.29
Figure 3.28: Page 4 colour work in progress images
(Part 3).
Figure 3.29: Flats progress for panel on page 2.
233
Figure 3.30: Sample clean pencil panel from page 3, darkened in Adobe Photoshop, ready for
colouring.
Figure 3.32: Rough preliminary cover design
work for one-shot edition of parts 1 -3, done as a
homage to the late 1940s Captain America’s
Weird Tales or the early Sci-Fi/Monster titles
from late 50s to early 60s Stan Lee/Jack
Kirby/Steve Ditko Atlas/Marvel comics.
Figure 3.31: Pencilled page 5.
234
Figure 3.33 (above): Final Cover version, with attempt at complimentary colours/using colour
temperature to emphasis the main figure. 3.34 (whole next page) features experiments in
colour. Ultimately, the green was used for its “eerie” connotations.
235
3.34