ancient relics: part 1

what a difference twelve years makes.

the concept that would morph into this comic started back in 2010 back when I was in early high school. i was really into bionicle and sci-fi and history and i wanted a way to combine these interests.

At that time I had the fairly common habit of doing endless concept art and not much real comic work. but in hindsight I don’t really regret it or think it was a mistake. I personally wasn’t prepared at the time to do consistent pages. I was still in a major period of honing my artistic skills and I just needed time. I was learning. some pages or layouts were attempted here and there as tests but nothing took off. I wasn’t ready yet.

and I wasn’t even really sure what I wanted the story to be about. I had all these ideas for settings and locations and concepts (still the way i am!), but not really a good idea for the story itself. i am not a writer. i don’t deal much with plots, i tend to focus more on shorter character pieces rather than having some big overarching saga. but at the time i was more unaware of my own strengths, and wasn’t really working towards them well.

the original tale revolved around lain (a very different character from what she ended up being) and her journey across the land. there were always sci-fi elements and the sudden attack of the renes with an unknown weapon. it always took place in a pseudo-ancient setting with anachronistic elements. I enjoyed working on it a lot, despite angsting over it as only a teenager could. but i’m also glad looking back that i didn’t really ‘release’ it until years later. it just wasn’t very good. it did have core elements with merit, however.

i would take short breaks from it here and there, dabbling occasionally. i’d come back to it as I grew and wondered why I did some cringy thing and update it. then i’d look back on the update and update that. this happened for six or seven years. but gradually i began to feel that I could finally deliver some quality work as I became more confident in my art and my understanding of people. I began it in earnest after college once I finally had time.

the character interactions definitely became the primary focus over the years. i realized how much the story was changing over those years and saw no reason to think that it would really ever stop changing. i’m just not a person who can sit down and commit to a decade long story. in hindsight i really think it was a wise choice to go with the anthology format because it makes the story so much more flexible. I can basically do whatever I want and I can switch off when I get tired of one thing. It was probably the best choice I could have made with the way I work. but I don’t think I would have known that was a strength of mine unless i doodled and didn’t ‘have much to show for it’ for those years.

it’s hard for most creatives to not cringe when looking at their old work. creatives tend to be detail people, and being a detail person means you notice flaws easily. this very much includes your own flaws. but I think it’s important to keep old work around for the sake of others. for a curiosity of course, but hopefully also as an encouragement. if I could get something out there then many others can too. 🙂

more of the saga to follow.

thumbnails and seeing the forest for the trees

since i work on each chapter somewhat non-linearly, sometimes I have too many ideas to jot down without forgetting about them. sometimes doing pages back to back makes me forget the main points since I get so caught up in the minutia. i’ve found for me that doing these thumbnail pages really help me keep on track.

it lets me see each panel at once for one thing. that helps me out a lot. each panel can act as a sort of landmark for a beat in the story. since I don’t think very linearly (i tend to see lots of small details all at once, not always in an order), having all the panels at once actually helps me get less confused.

i’ve mentioned before that i tend to do a pretty rough plot outline first and then fill in details as I go. i don’t know exactly where the stories go at the beginning, though I do have an overall idea. things like individual actions and character interactions are handled as they come up. it’s like I’m getting to know real people and I enjoy that. but this process can make it a bit easy to get lost in the mire of small details and lose scope of the whole story if not careful. I may find a better way to do this in the future, who knows. it works for the moment.

Flags 3

got pretty hung up on stylized comets and planets with rings on this one.

when doing comic concept I always try to do most of it in B&W. I didn’t used to but I learned my lesson. things always manage to look different in color.

I really like this batch overall. just some tweaks here and there. i think most of them would be fairly striking even in B&W. I found the Good Flag, Bad Flag pamphlet to be a good resource. it breaks down flag design and why things work and other things don’t in an understandable way to the layman. i am by no means an expert on flags, but hopefully i have enough design experience to make something striking and poignant (or at least recognize when a design isn’t).

on a side note, i wish my state flag (Kansas) could be one of these. or something like it. or just something that isn’t the flag we have at the moment. it’s just so bad. along with the like 20 other state flags that look just like it. none of them stand out, and you can’t even see what’s on the seal at a distance. in my opinion many badly need a redesign.

with these two designs at least they would be fitting for kansas with kansas-y colors (sunset, sky, fields, clouds). simple and distinct. the mostly unknown state banner is fine too, we could always use that. a man can dream I suppose.

(quiet clothes?) LOUD CLOTHES???

how classy should we go?

how loud? how casual? again, design trends are pretty independent of when or where you live. some fashion trends could easily have happened centuries before or after they did in real life.

even if i sit on these designs for years on end without using them there is no definitive end date for the comic at this point. even I have no idea where it could end up in 20 years.

and without spoiling too many future ideas, this comic could very well end up exploring many more places and times than what has been shown so far. even if some of these outfits aren’t appropriate for the moment, they very well could be at a later date.

Otigo Trappings

as always, playing with things to see what i like and what i don’t. in real life people wouldn’t dress like they do in the fire nation (“we all have to wear red!”), but it definitely helps the reader. you have to be a little heavy handed sometimes to drive a point home.

these are some ideas i have for the Otigo people. at this point they will not be the main focus but will impact other nations in the area through their actions and culture. they are a loose group of many disparate tribes and i was dabbling with how to make the body shapes and outfits distinct but not too different (they are all part of one people group). at this point i’m leaning towards reducing the diversity even though I like most of the outfits in a vacuum. ideally i want the reader to be able to fairly easily recognize any of these characters as from the otigo area. for that purpose they’re not there yet. how close should they be to each other? that is the question.

Flag content

like the last post about flags, a lot of these are ripoffs of real-life flags. also like last time, it helps to weed out generic ideas in favor of something that hopefully will have more legs. just playing around as always.

the goal of a lot of these is to make something distinct but still have competent flag design. it can be pretty hard to make a design that is simple and distinct. it can be hard to keep it from getting too cluttered or busy. i see why many flag designs have (what i feel are) too many elements. it can be pretty tempting. but it is also for good reason that most real-world flags air on the side of minimalism, even the incredibly old ones. keep in mind that you also need to recognize a flag at any size, what if you are on the border of enemy territory and see a flag in the far distance. It is only a millimeter in size relative to you. I hope you will be able to tell if it belongs to friend or foe.

also for these flags in particular it’s important to keep in mind how these look in B&W. pretty useless to come up with some crazy colorful pattern when the comic is monochrome. it’s not really that big of a deal, because I believe that the pattern of a flag is much more important than the colors anyway. it’s like its silhouette.

a need to DANCE!!!

i dance about as well as a large tree but i do find it pretty interesting.

body language is of course important to me and dancing obviously opens up a lot of fun opportunities. it’s also just how some people [and cultures] celebrate and praise even if I don’t. it helps me understand others even if it’s just in small ways.

tails fulfill a similar function to dancing skirts in real life. in artistic terms they assist the line of action.

The true foreigner

Who is the true foreigner among you? Is it the one who looks or talks or acts differently from you? Or is it the one to whom you relate or do not relate? Or perhaps still, is it your enemy?

Who deserves your care or love or tolerance? Is it only those who cannot defend themselves? Or is no distinction made between those who can and those who cannot?

I see many define those who need the most lifting up as those who are the most vulnerable. Those who by appearance or circumstance or what have you have limited ability to resist the manipulations of others. Fair enough. They definitely need help.

However, a thought. I’ve heard it said once that “The past is a foreign country. People do things differently over there.” And it definitely is true in my experience. What on earth were my ancestors thinking? How could they have possibly done X, Y or Z? How could they have let such injustice go unpunished, or even worse, inflict it upon others? Surely they could not have had the same values as mine. Were they even human with the horrors they inflicted upon others and the seemingly alien degree of their thoughts?

Yes. Of course they were.

It grieves me to see that many so-called proponents of tolerance do not tolerate those who truly cannot defend themselves, namely, those in the past.

Do you only tolerate those who agree with you? Is that real tolerance?

the voice of the character

Back when i was laying the groundwork for the comic I worried about having to follow a small cast of characters for years on end and was worried that I might get burnt out on them before long. one of the strengths of the quasi-anthology format I came up with for motherland is that it lets me flip around between new characters often. if I like one I can come back to them in the future, and if I feel satisfied with a character’s arc I can leave it there. it lets me dabble. i like to dabble.

most of the time when i do a story i just have a very rough outline of what happens. i more or less make it up as I go, filling in sections here and there and letting the story sort of take its own path. I’m sure that ‘winging it’ would make some creators cringe but it gives me life. i spend less time worrying about who i want the characters to be and just go along for the ride for who they are. i sort of treat them like if I was meeting a real person.

as a result, when i am working on the visual design of a character, the design may not match up with who they seem to be turning out to be personality or arc-wise. Su for instance i knew from the start was going to be one of the main players for ch4 and she originally was going to have the design shown on the upper-left. but the more i got to ‘know’ su, the more some elements felt out of place. i ended up with the headdress shown on the upper right after some iterations because it felt much truer to something that a very shy introvert might wear. i did like the first headdress design, so i ended up using it on the older sister. but it felt too ‘confident’ for su.

that is just a tiny example, but for my process it is a frequent occurrence. the design of the character influences who i imagine they might be, and vice versa. they feed into each other. i really enjoy the process. not every artist necessarily thinks that way.

a lot of times i’ll just doodle face or body shapes and mill over ‘who could this be’? a lot of character designs i’ve come up with over the years came about as a result of this process. a lot of it is barely intentional. i’ve always thought that I was stronger at ‘putting together a puzzle’ than i am at designing according to a strict concept. people ask me if i draw what i see in my head. i do to a degree, but it is more that I can turn shapes into other shapes and make an image or a statement from elements of what i see rather than have a clear concept in mind from the start. i play and listen a heck of a lot more than i plan.

i like the characters showing me who they are, so to speak. i’ve come to realize in recent months that understanding is one of my main driving forces in life, whether that’s people or concepts or anything else. i want to know and help others know and that is a huge reason why i pay attention to people and their motivations. this doodling process that i do is just one way that i use this desire and hope to share it with others. i enjoy the artistic process, but it is more of a means to an end for me. however, it one of the best facilitators for me to understand others and help others understand – regardless of if those others are real or fictional.

The shape of your average LADY (and boy)

some more body shape doodles. just seeing what works and what doesn’t for the story.

trying to design the clothes hand in hand with body shapes, which i haven’t done as much in the past as i probably should. the clothes and silhouette are basically the characters’ “brand”, i think it helps for them to build off each other. it makes the impact more distinct at least.

panel borders always kick my butt. it’s still easier for me to draw characters without worrying about panels even after all this time. a lot of times i like how a character silhouette looks in a vacuum but when it’s on the panel it clashes with other elements. oh well. still learning