This comic ended up looking very simple, but a lot went into the creation of its characters. A few elements and props were scanned, cleaned up, and later discarded because they didn't fit the final composition well. I like heavily modifying images like this, because it makes me feel like the final product is much more my own.
This comic ended up looking very simple, but a lot went into the creation of its characters. A few elements and props were scanned, cleaned up, and later discarded because they didn't fit the final composition well. I like heavily modifying images like this, because it makes me feel like the final product is much more my own.
Actual working time that this video compresses: 2 hours 40 minutes.
This video shows how sometimes characters are created from separate elements (such as hats or faces), and are often cut out of their backgrounds for greater flexibility. When assembling a comic from pieces like this, I try to keep the art style consistent so it all looks like one unified whole -- in this case all the pieces (except for the fish head) were from different illustrations…
The creation of Wondermark #421, the comic found here:
This video shows how sometimes characters are created from separate elements (such as hats or faces), and are often cut out of their backgrounds for greater flexibility. When assembling a comic from pieces like this, I try to keep the art style consistent so it all looks like one unified whole -- in this case all the pieces (except for the fish head) were from different illustrations by the same artist, in the same original book.
In this "Two Minutes to Wondermark", the scenario was preconceptualized, and I had to build the scene from a bunch of different source elements. This type of process is the most time-consuming, but also the most fun. Apologies for the blurry video.
The creation of Wondermark #389, the comic found here:
In this "Two Minutes to Wondermark", the scenario was preconceptualized, and I had to build the scene from a bunch of different source elements. This type of process is the most time-consuming, but also the most fun. Apologies for the blurry video.
In this "Two Minutes to Wondermark", you can see how sometimes simple characters are created out of disparate source images. An alternate design for the girl character is assembled and discarded. Also, note the use of opacity effects and gray-toned overlays to make the characters appear to recede into the distance,…
The creation of Wondermark #422, the comic found here:
In this "Two Minutes to Wondermark", you can see how sometimes simple characters are created out of disparate source images. An alternate design for the girl character is assembled and discarded. Also, note the use of opacity effects and gray-toned overlays to make the characters appear to recede into the distance, or at least not command visual attention away from the primary characters.
In this "Two Minutes to Wondermark", there's not a whole lot of image manipulation -- the biggest challenges are finding the right wording for the dialogue and creating a flow for the word balloons that makes visual sense and is easily readable.
The creation of Wondermark #310, the comic found here:
In this "Two Minutes to Wondermark", there's not a whole lot of image manipulation -- the biggest challenges are finding the right wording for the dialogue and creating a flow for the word balloons that makes visual sense and is easily readable.
