The final page was always going to be the hardest. Not only did I have to bring the story to a powerful conclusion, emphasising my message, but it needed to be somehow better than the previous two pages, to simulate growth and success. I toyed with various ways of going about achieving this. One idea was to simply pencil the first page, ink the second and have the third be full-colour. Another idea was to have the first page be simplistic, either in terms of complexity of line work or in terms of composition. The third page, yet again, would show dramatic improvement. I decided to do the first two pages in black-and-white and have the artwork be the only thing in colour. The significance is obvious, I’m sure, but all of these ideas share the same problem: the first page effectively has to be worse. This wouldn’t be a problem if I had enough skill to do one element well, say, the pencil work, but, I’m sort of making all of this up as I go.Ironically, when I look at the first page, I feel like it’s the best. I think I just like that tie the doctor’s wearing.
I’ve definitely enjoyed my time doing this brief. Making a comic book well requires and understanding several different forms of perspective, architecture, anatomy, body language and all sorts of other things. Not to mention the technical skills required to render all of those things in the style most befitting the subject. I have a lot to learn about every element and every stage of the process.
Over the three pages, there is a sort of grid system going on: main character in the top left, what he should do next, top right, and how it turns out, as big image for the rest of the page. It is representative of the trial and error nature of the main character’s actions and how he ends up back where he started. Graphic design is as much a part of making comics as illustration is. It’s goes to show there are many ways to make your point and good design is about combining the obvious with the subtle, sort of like a magician and slight of hand.