APPENDIX 2: Studio work- Soldier Legacy, script writing and concept art examples.

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1 APPENDIX 2: Studio work- Soldier Legacy, script writing and concept art examples. 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. Figure 2.01: Post-it note thumbnails for page layouts and possible panel shots for The Soldier Legacy #5. Figure 2.02: Thumbnails, workings and page layouts for The Soldier Legacy #4. 186

2 Figure 2.03: Soldier Legacy full page advert in The Soldier Legacy s Strange Tales #1 (2013), which shows the covers for all The Soldier books so far in the series. 187

3 Figure 2.04: Soldier Legacy full page advert in The Soldier Legacy # 4 (2012), for the 120 page trade paperback collected edition of re-touched Soldier Legacy #1 3. Published by Black House Comics. 188

4 Figure 2.05 (whole page): A page each from the WW2 story from The Soldier Legacy # 2, 3, and 4; a small example of illustration and colouring change. 189

5 Figure 2.06 (whole page): A page each from the modern story from The Soldier Legacy # 2, 3, and 4; a small example of illustration and colouring change. 190

6 Figure 2.07: Sample page with clean and open pencils, complete with colour notes to myself. From The Soldier Legacy # 5 (Nov 2012). 191

7 Figure 2.08: Sample page with darkened pencil lines, digital colour and consideration of colour on a different scene/setting and time of day (in this case, dawn). 192

8 Figure 2.09: Sample page from issue 5, featuring modern colour considerations, based also on time of day (night) and environment (fire outside). 193

9 Figure 2.10 (above): A snap shot of some pencilled pages completed for The Soldier Legacy #4. Each page is 11 x 17 inches, and reduced to 6 x 10 inches for publication (comic book size). Figure 2.11 (right): Lettering guide, to give me a rough idea as to where my letters are placed in relation to the page illustration. Lettering is completed in Adobe Illustrator, and then exported out to be assembled on the original coloured page, along with crops and bleed marks (in a created comics page template) ready to print. The faded image allows for easier readability of the word balloons as the lettering task is conducted. 194

10 Figure 2.12: Cover image/ work in progress for upcoming The Soldier Legacy #6, experimenting with using inks and zip-a-tone effect for Soldier book. 195

11 Figure 2.13 (whole page): Concept Art experimentation with ink and colouring for a collaborative comic series with Chris Sequeira Larry Burne s Maleficus Seven. Teaser comic appeared in The Soldier Legacy s Strange Tales #1. 196

12 Figure 214 (whole page): More concept art experiments for Larry Burne, with inks, and a different approach to colouring. 197

13 Figure 2.15 (whole page): Promotion material and experimentation with inks and colour (late 2012 (below) and late 2013). 198

14 Figure : Chris Sequeira s full script for Dark Detective: Sherlock Holmes #8. Note even the suggested page layout for the penciller. PAGE 14 PANEL 1: Suggested Panel Layout; Page 14 EXT. BURIAL SITE CAIRN DAY A long-shot, establishing the creepy exterior of an ancient Neolithic burial complex. PANEL 2: NO DIALOGUE OR CAPS EXT. BURIAL SITE CAIRN DAY We zoom into closer to the doorway into the cairn. It s a black maw, revealing nothing, but PANEL 3: NO DIALOGUE OR CAPS INT. BURIAL SITE CAIRN We re now inside the burial chamber white stone walls. A lantern hangs high on a wall providing light. Mary sits on a wooden cot like an old army cot, with a simple tray on which sits a tin cup and plate of food to one side, untouched. She doesn t look too worse for wear, but she is quietly angry, looking about her surrounds, obviously thinking of how she might get out. The reason she can t go far is a chain locked to her ankle and embedded in the wall. PANEL 4: NO DIALOGUE OR CAPS INT. BURIAL SITE CAIRN Mary espies a particularly large chunk of stone, jutting out from the wall. PANEL 5: NO DIALOGUE OR CAPS INT. BURIAL SITE CAIRN 199

15 She is now grabbing it, trying to pry it loose PANEL 6: NNF! GRFF! kkckk MARY SFX (ROCK) INT. BURIAL SITE CAIRN..Out it comes she almost is falling over as it comes free! OH! MARY PANEL 7: SFX (ROCK) CRIK-SHOOOOP! INT. BURIAL SITE CAIRN Close OTS on Mary, fear on her face as she suddenly turns to the doorway into the chamber as a voice approaches. VOICE OFF-PANEL (MARQUIS) What is Freedom? ye can tell That which Slavery is, too well. For it s very name has grown To an echo of your own

16 Figure (whole page): Pencil layout roughs for artist Phil Cornell. I then would send these to the writer in to see if he was happy with the storytelling of his script. 201

17 Figure 2.20 (left): The Soldier Legacy as part of the Black House Comic line-up of titles (via website)

18 2.23 Figure (previous page and top of this page): photos and screen shots from Youi insurance commercial, Studio work featured in the TV commercial, and concept art created especially for the statue, baseball cap, and cut-out standee Figure 2.24: An example of travelling around the country promoting the series. A featured guest for OZ Comic-Con 2012, 2013 and

19 Figures : Concept art and the eventual statuette, created specifically for The Soldier Legacy appearance in Youi insurance TV commercial

20 Figure 2.28 (above): The Soldier Legacy was talked about in the local newspaper (Albert and Logan News) Figure 2.29 (left): Guest profile for the Brisbane Writers Festival 2013 discussing independent comics, Soldier Legacy etc. 205

21 Figure 2.30: Part of Queensland s The Sunday Mail U Magazine Article Draw the Line by Sally Browne, (Aug 2014) promoting comic book and zine creators for the 2014 ZICS event (Zine and Indie Comic Symposium). Photo by Sarah Keyes. 206

22 Figure 2.31: Part of the Melbourne and Gold Coast Supanova Expo 2012 convention magazine, featuring The Soldier Legacy. 207