I included sketches from the early stages of the project with contextual text describing the thoughts behind the shapes and expressions used in the characters which lead to my final character turnarounds and phoneme sheets - adding contextual text, explaining the process and any struggles, inspirations.
For the background section I used the completed backgrounds used in the animation. They were mainly enclosure backgrounds due to the completed animation being near the end of the animation however I quite liked the environments that I had made so far. Purposely using purple tints on the enclosure environments not only helped to tie in the eerieness of the entrance of Dusk but helped to blend and standout both characters from the background. Subsequently adding so much detail to the background, the intricate line shading on the trees, helped to make the characters stand out even more to the spectator. My favourite background is the low angle enclosure design used in the 'Enter the Shadow' scene, I loved drawing it. It was alot of fun drawing in such a different perspective and I was able to use a bit of the 'impossible lens' to further emphasise the angle. The impossible lens is something I vaguely researched in my COP3 Project, but this camera shot is something that only animation can succeed with, giving the discipline an advantage that no other medium can even try to attempt. Joanna Quinn, animator and director, is famous for her use of the 'impossible lens', making the perspective warp in order to tell an interesting visual narrative.
The addition of the script before the storyboards worked quite well; it was nice comparing the script to the storyboard. I kept the layout and appearance the same as the premise page at the beginning of the book. I wanted to keep this as a good theme throughout the book.
For my finalized storyboards, I used my own storyboard layouts that I had created during the COP3 module. I added my own logo, Cy's Head, at the top of each page which tied in the panels and heading text nicely. On these storyboards I added the notes for each scene as well as drawing the camera and action notes on each panel. Adding these notes helps both the reader and the animator understand what is happening in each scene, with both the direction of the camera and the main action. I am really proud of the finished boards, after redrawing them a few times, it is nice seeing the final sketches. Even though the storyboards are not as completed, in an aesthetic approach, in comparison to the storyboards I created for COP3, I really liked how the action could be seen with just the image alone. I want to work on this storyboards after the deadline. I am curious to see how much I change the shot, dramatically, to tell the same story, and to see if my target audience would still be able to understand the narrative.
I added a blank black page at before the back cover so that the placement of the pages worked successfully for the booklet. With feedback from a fellow student, Rebecca Wong, I added a silhouette of the main characters head in the bottom center of the page. I really liked this addition, it was simple, working with the rest of my layout and the use of the black page worked with the back cover due to the dark colours used in the composition.
I am really pleased with my final Art Book. I love how simple and clean it looks as well as the amount of images that I've added to each page, making feel complete. I want to keep adding to this Art Book after the deadline and print it in hard back for the exhibit. My tutor mentioned a website, Cafe Press, which printed spiral bound journals The prices are quite reasonable however I want this to be a hardback book or at least fabric bound rather than spiral bound. I feel like it would look more professional and it would be amazing to be able to keep something like this after university.
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