Rumpelstiltskin: Final Pages

Whilst creating this comic book I had already one under my belt. Beauty and the Beast was finished and it's success evaluated so I could take a lot of that knowledge and feet it into this new story. I was worried that changing the colour would change the style but my style and visual language still came through. 

In comparison to Beauty, I was more daring with composition, using high angle shots, low angle shots to greater imply character and view point. Ultimately, both stories are seen from a third persons perspective. (I think of them as the camera) and so the more more subtle the view-point the more daring the content. Feet were used to tell the story, and gesture more so than hands; this is the other way around to Beauty.. There were more characters to show in this comic; so faces were more important, to fuel the narrative and help the reader understand character, development etc. I used more specific repetition in this story also, the use of templates to gradually communicate time and change with subtle changes in costume, design and colour balance. This was something I was wary of; careful not to repeat frames or imagery too much in-case the flow ruined. 

The short stories are faced paced and intense , as was always the objective. I think that, in this version , I met my personal objectives to a greater extent than before. The story in itself, the idea of trusting the wrong person, a parents wrong decision effecting their children, a child being taken away from you...these are all fears experienced today. I have drawn on these themes and put them in a form that a modern audience can appreciate and will understand. I could have been even more daring with story decisions (see previous theories) but I told the original story with my own twist, as was my mission. 

The fact that the comics are wordless makes it all the more relatable. You can take what you will from the stories, it is not set in stone, the world is imaginary and so time and place is irrelevant,only the themes and imagery are important an this is an exciting idea. 

 

Rumpelstiltskin Rough's/Templates and Story Theories

Character Study: 

Below: Ink study concentrating on face and expression. My character 'Miller's Daughter' in Rumpelstiltskin has already been designed, however, completing the storyboards brought to attention the need to have a very detailed face design. This is because my experiments with camera angles have let me toward a 'close up' view of the story and expression will be doing a lot of the storytelling. The character should not be particularly well put together, as she is poor but she should appear to be desirable (as the King set his sights on her).  The hair is based on a 70's style, paired with the typical medieval attire (modern corset and socks) The amalgamation of different styles making the character an empathetic one but also a fictional one. 

The freckles suggest a harder life; I used them in 'Beauty..' also. They imply the need to work outdoors (not shying from the sun as would have been the fashion). The different between the character and the character of Beauty is 'M. Daughter' (I haven't named her, I didn't want to imply a great sense of self because she seen by her superiors as an object) is more hardened, not sheltered or looked after by anyone but herself. The face that she cannot work her way out of this situation, or save herself from the King and his intentions, shows how impossible her plight really is. 

The ink drops were meant to imply her disheveled state, something I was able to achieve through media, a mixture of wispy and harsh lines. The face is strong, however, and I have drawn her to appear strong (she is not spindly or lanky like my other characters) using curved strong lines; she is not a fragile character. 

Costume Designs 

Whilst completing my storyboards I became aware of some design elements that would require templates or practice. I had designed the girls primary costume but overlooked the end of the story, during which she becomes pregnant, a time lapse is shown and then there is the final costume. This required four new dresses and they had to effectively communicate the time lapse and suit the growth of pregnancy. I flipped through my book:

Looking Back at Fashion 1901-1939 (Von Whiteman)

for some inspiration into cut and shape. I was especially drawn to the flowing lines of the 1930's and so I incorporated this into a style in fitting with other costume choices in this and my other comic (certain elements the buttons, bodices and socks were recurring). The flowing lines suited the 'maternity' gown and also allowed for growth. Importantly, the gowns also had to show wealth; she is no longer a Miller's daughter but a Queen. This is also implied by other design elements; ringlets in hair, jewelry and a neatness that wasn't present before.  

The first sketch was my initial thought before research and then the three designs side by side show the progression; the bodice opening out, the lines becoming fuller. I felt I should test my colour choices out, to ensure the shape complemented the colour. 

Below: The yellow in this case suggested a richness that wasn't present before. This is because the lines are cleaner and the designs more detailed an opulent. This is a good decision for the section I am Illustrating but This would be particularly hard to repeat. Each dress will only be produced once, so I can take time and give the detail the right attention. 

Templates 

And the Story-Theorizing

Some images in the comic strip were difficult compositions to get right on the first try, or I had to show a time lapse, which was done by reproducing  character or setting and showing a change within the frame.

The baby-what it symbolizes

Below:  I decided to loose the head because I didn't want to deflect from the baby; this needed to be the most present figure in the image. The Composition was designed to imply a cocoon, to symbolise protection, even the design of the dress implies this (fullness and drapery).

There is also something more simplistic an honest about this image. In the story, the girl does not want to marry the King, or indeed, have his baby. In my version, this is evident, however, I wanted to show that she still feels a bond with the child and having it taken away is leaving her with nothing and therefore, she is back where she started. The story is about greed and how it can effect the next generation...we see three generations in this story, which further cements the theory of this pattern. I want to state that, in my story, it ends after Rumpelstiltskin takes the baby, however, in the original story, she makes another deal and overcomes him, keeping the baby. In my mind, this happens, I just didn't draw it that way to better suit my personal objectives. In some ways the story needed to be cut off at this point for the message to be evident, if she kept the baby, a deal was left undone. Behind the scenes I had other ideas; I thought about making the baby Rumpelstiltskin's, but this would throw the story, i.e the King would not keep her, the only was I could imply Rumpel as the babies father was to make the baby yellow...and this would, realistically, not have been overlooked by the King and so a whole new conflict begins. This is the why I told the story in the way I did.  

Below: Template

To show her pregnancy after the marriage, I organised three frames, with the design below the key image. the image changes slightly, showing the stages of her pregnancy, hair growth and costume change. I needed a template to ensure each image was reproduced well, hence the piece below. This was a process I used for a tricky to produce image in 'Beauty ' I simply trace these templates on a lightbox. 

Rumpelstiltskin Rough Storyboard and (GESTURE AND EXPRESSION CONTINUED)

Drawn on coloured paper simply because it helped me to organise the story into process-able chapters (not evident in final but useful to me in the storyboarding process).  I colour coordinated the pacing, using colours that didn't detract from the themes of the story.

I am so pleased with this rendition of the story . In all my research Rumpelstiltskin was such an ambiguous character. He saves the girl from death but for a price and he tries to take her baby. I had such trouble with the ending. I knew that my story had two plots.

1: The King's greed-both over the girl and her abilities, he wants her for her beauty and her supposed 'powers'. She has to be careful how she deals with the King as he could quite easily have her head cut off ( as he reminds her over and over again in the original story.) This relationship is skirted over in the original story but is actually the bit I found myself drawing on as the most 'sinister' part of the story. She has no choice bar to marry the King and have his child- even after he has threatened to kill her (if she wants to live).

2: Rumpelstiltskin and the girl, he comes to her rescue but he demands something of her. He is not your stereotypical hero, everything comes with a price! She trusts him in my version because she seeks help-or maybe a fatherly figure (her own gave her up to the evil King). In short she has no choice if she is to live. 

The Ending:

I had to stick to my objectives. Exploiting the adult undertones of the story and ultimately making a decision based on that. The penultimate moment is when he comes to take the baby from her. I was going to make the baby yellow to imply it was in fact Rumpelstiltskin's baby. This changes the whole plot though, which is daring but not quite what I'm going for so I simply cut the ending short and left it with him taking the baby. The theories behind this are further explained in previous posts. 

Whilst evaluating the success of my storyboards I have become aware a repetitiveness; I am also limited on time and feel that some panels may be condensed. This is made clear on the last but one page where I shown a need to draw a panel down and cover the original idea. However, there are some repetitive scenes that are important metaphors. The mirrored 'floor' panels where she begs for mercy and then for her baby; it shows how her life has turned around but she is back where she started. In addition, it is a direct link to a decision made in Beauty and the Beast; in which the Beast tries to seduce the Beauty (hands/close-up) and consequently at the end, we have the mirror image of her seducing him (hands close-up again). This is a theme I will continue if this project progresses. 

The panels and layout now decided upon, I must re-draw everything neatly and carefully using the same system as my previous comic. Now that I have practice, I believe that everything will appear cleaner and more professional and the second attempt should be more successful than the first. I will not look upon this as a failure in the first comic; but am aware that thing have to progress and similarly if the project was continued this would hopefully be an ongoing improvement. 

USING HANDS AND FEET/GESTURE AND EXPRESSION TO TELL THE STORY IN RUMPELSTILTSKIN: 

The communication objectives for Rumpelstiltskin evolved from my image making methods and decisions in Beauty and the Beast. The use of gesture and facial expression, alongside the close-up views of hands and feet to communicate the story worked extremely successfully in my first comic. However, I believe there are things I can refine. The use of repetition for effect can be cut down to ensure the flow of the narrative; in addition, I can explore even more camera angles, compositions, high angle shots to show the impossible situation and the hierarchy of characters. In doing so, my work should take on another level of interest and become more dynamic in it's composition. 

Below: I have included some extracts of the final Illustrations showing how I have utilised this concept of gesture/expression in this story and how it differs from the previous. below, a similar image to that at the beginning of Beauty.. the idea of taking control, this is where the situation begins-when they are taken to the 'setting' (put their by the ambiguous antagonist). I used feet,wide angle mid-shot, low to the floor to imply how abandoned the protagonist is; the feet are always turning away from her; except those of Rumpelstiltskin . Once again, there is the question of his stance in the story, is the hero or the villain, although he is open (as can be seen in the imagery) he does not turn away because there is a deal in it for him. 

Below: Example of repetition to show the 'cause and effect' morality of Fairy Tales. I deliberately mirrored the image, to better suggest the idea of the circle. Despite her trials, she is back where she started. Evidently, the theme of the story, or the 'lesson ' is that greed (seven deadly sins) will come back to haunt you. The greed of the girls father, of the King and Rumpelstiltskin comes at a price, and she pays it. 

Hands and gesture: moving the narrative forward. The image below is a perfect example of how I have used close-up (hands) to show how a character relationship has changed. The wedding ring is the middle focus of the panel; and was not drawn attention to before. Therefore, we see that a marriage has taken place and an important plot twist. Importantly, we see that the King still does not hold her hand (the only times we saw him be 'nice' previously was in her sleep). This is my subtle way of implying that there are probably ulterior motives here; that do not involve love. The composition of the panels here was important, ensuring that the focal point was central to the image an therefore, the first thing the audience is drawn to. 

Making Deals: I used hands to show the 'exchange,' whenever a deal was made and (underneath that) the image of the feet at the wheel to show the work in progress. In these images (feet at the wheel) time lapse is shown with the build up of golden spindles an diminishing of straw. In addition, we see the girls feet move closer and closer towards Rumpelstiltskin; she is curious and is perhaps trying to judge his character. At the end of these scenes, she always falls asleep and wakes to to the King and then circle repeats itself. 

Expression: The use of limited colours work to create mood, or an atmosphere for time of day. As well as hands, the face shows all sorts of emotions and I found I did not always have to show the whole face to communicate feelings. This is a example of how a lot can be said with just an image of the mouth; the tension in the first image and the way she crane's her neck away from the King shows she is displeased with the situation. The King wears a permanent sneer as he is altogether without conscience. I tried to use a hint of green to shadow and show depth, creating shadows was particularly difficult as green is quite a harsh colour, but used in moderation it worked to good effect.

The advantage of the colours in beauty and the Beast was that I could imply a 'blush' whilst I could not achieve this is Rumpelstiltskin. Smudging the pink into the red marker effectively 'suggested' a blush, which can be quite telling. 

Rumpelstiltskin: Re-Imagining- New Character Designs

The King:

Evil. He is a greedy manipulative character. Nevertheless he cannot lack charisma, the maid eventually marries him-

His costume is a twist on typical 18th century stage costume stereotypes. His look is more full, less angular than that of Rumpelstiltskin. Ultimately the king is the character with less power, who only uses his station to get what he wants. He uses others; the girl to spin the gold etc. He does not have morals, or a conscience. I took a lot of influence from the character of Gaston in Beauty and the Beast. He is typically handsome, strong as seemingly desirable but his personality is the opposite of his outward appearance. 

The Girl:

I have left her nameless. She is our most important character-however she is not a proactive one, the story happens around her. This enhances the idea that she is simply 'human' and put in extreme circumstances; she is the most ordinary of all the characters-however, she is the one that the story revolves around. She is not particularly brave or clever, but she is beautiful and that becomes her downfall. 

Rumpelstiltskin:

Careful not to make him too similar to Robert Carlyle's. His costume is angular, dangerous, even though he appears to be the hero of the story. He is ambiguous and has his own agenda, the girl puts her trust in him. It is important that he fools the reader, he comes to the rescue and is a magical creature; so he is not predictable. His skin is like Gold (like the stuff he spins) and although he seems to counteract the King, he is in fact just as greedy. 

Endpaper Experiement. This looks too messy, I need to integrate black into the image to format it.