Where Odin and his two bothers kill the giant Ymir, and with his body created the earth. I am doing the section where the gods killed Ymir and made the earth. For they took his blood to form the water, his bones the rocks, his hair the trees, and his skin the land. This is the short version of it. For a longer synopsis of the story please go to Snorri Sturluson’s Edda. If you want a even longer idea go the website called Norse Mythology for Smart People.
The images that I used to make the comic fit in with the Norse creation myth well. For I used what few images of art that I could find that survived the brutal climate and the warrior based society. The images and things that survived were most often the weaponry and the jewelry which mainly had Celtic knots, runes and symbols. The simplicity design of the characters were from the few art pieces that were drawn like the Överhogdal tapestries and the idols that were made of their gods. Same with the colors they were often just flat colors dude that being the only thing they could do at the time. Also most of the color has been destroyed due the material being used within them. The Celtic knots were where the Norse people focused on most of the complexed goes into them and the amount detail that went into these things were amazing. In chapter 3 of Understanding Comics Invisible Art By Scott McCloud, it talks about the gutters and how they help the reader get involved with the comic so used that idea within my comic. I Allow the reader to decide how Ymir was killed and how he was tore apart to make the world. I have big gutters to make it feel like more time is happening in between each panel. Also in the same chapter it talks about closure and how the story is told with different types of panels. I mainly used the method of aspect to aspect, since my comic is dealing with the idea of how the earth was created using his body parts as the driving force without thinking about time. Also I wanted the reader to be able to wander through the last four panels without going in certain order. I do use scene to scene, idea of deductive reasoning to help with the idea of that the body parts are of the first guy(Ymir) getting stab. This style of telling a story is more of an experimental way of telling a story than most comics. In chapter Eight he touches on color and how it is use within comics. I used color as a way of helping the viewer connect the dots between the hair and the hand show that it was the same as the first guy who had the same colors.
In my comic I used different lines weight to show what was organic and inorganic, things that were organic had un-unify lines weights that changed to show that they had imperfections and randomness. While the inorganic things were even weight line to show they were man-made and were going to have purpose and meaning to them. I used a very cool colors to help to show death and the fact that they were fighting in a cold climate. Furthermore I used geometric shapes and changing colors to help give objects form and extra layer to them. The Celtic knots in the piece is what unifies all the different scene to together, as well as the color scheme that as throughout the comic. Also the knots give balance to the piece for they are what are braking the comic into sections yet also bring them together. I grow as an artist for I was able to draw some very complex celtic knots pretty well. I enjoyed doing them a lot will like to do a piece that alone had them in it. Also I was able to take my knowledge of history and convert it into a story that can be understood. Also me being able to keep to a color scheme. This relates to the DMA major for we have to come up with stories that make sense. This is way of developing that skill if you can convert a story that exist already into an art that means. You make one or take what some gives you as a story and as art style or design, and then make something from it. For an example sticking within a show art style or a game art style, while telling a story.
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Snorri Sturluson 1987, Edda (trans. by Anthony Faulkes): London, J.M. Dent & Sons Ltd, 252 p. (PT 7312.E5 F380 1987)
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