Creating Tonoharu #6–The Design (3/3)


Pictured: Detail of Endsheets from Tonoharu: Part One 

This is the sixth post in a series describing the creative process behind my graphic novel Tonoharu. This installment, along with the two that preceded it, deals with the design considerations. Those who haven’t already are invited to read parts one and two of the design series before diving into this one.

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Shading and Color:
For reasons described in the previous installment of Creating Tonoharu, I decided to omit the black borders that typically run along the edges of panels and word balloons. Without these iconic lines, it became necessary to define these areas in a different way.

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Creating Tonoharu #5–The Design (2/3)


Pictured: A chunk of Tonoharu: Part One, page 83 

This is the fifth post in a series describing the creative process behind my graphic novel Tonoharu. This installment, along with the one that proceeded it and the one that will follow it, deals with the design considerations. Those who haven’t already are invited to read the previous entry before diving into this one.
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Creating Tonoharu #4–The Design (1/3)


Pictured: Detail from the title page of Tonoharu: Part One 

This is the forth post in a series describing the creative process behind my graphic novel Tonoharu. This installment (along with the next two) deals with the design considerations.

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These posts are organized so that each one addresses a different stage of my creative process, in chronological order. In practice, the stages bleed into each other so it’s not always clear where one ends and another begins, but basically my process boils down to: 1) Inspiration, 2) Writing/Editing, 3) Drawing, and 4) Editing again.

There is, however, one important element that doesn’t neatly fit into the above chronology. It began when I first started working on Tonoharu, and came to a close when I finalized production details earlier this week. That is the overall design.

I figured that this point in the Creating Tonoharu series is as good a time as any to address this unruly topic, so following are some of the design decisions I made for Tonoharu and why.

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Creating Tonoharu #3–Writing the Script


Image from Tonoharu: Part One 

This is the third post in a series describing the creative process behind my graphic novel Tonoharu. This installment deals with writing the early drafts.

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The more I write, the more I’ve come to appreciate the subtle nuance that is a well crafted story.

The old saw “they make it look easy” applies; a well told story flows forward in such an honest and natural way that it’s easy to forget that it had an author in the first place. That behind that timeless tale of love & death was some poor schlub who struggled over countless dead-end drafts, debated with himself over what events to keep and which ones to lose, fretted over settings, timeframes, character histories, dialogue, etc., etc…

The real world doesn’t have an author (well, probably not, anyway), and a good story does such a good impersonation of Life that it’s easy to forget that there’s someone behind the curtain, pulling the strings. The more skilled an author gets, the more invisible his touch becomes.

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Creating Tonoharu–#2: The Idea

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Pictured: Art I admire

This is the second post in a series describing the creative process behind my graphic novel Tonoharu. This installment covers the formation of the basic idea.

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If there’s a common thread to the experiences in my adult life that get me excited in a kid-on-Christmas kind of way, it’s those that make me feel like the world is a big, terrible, exhilarating place with untraveled roads, fascinating strangers, and infinite possibilities.

“Feel” is the key word here. It’s easy to duly profess the belief that there’s a world of possibility beyond your front door, but I’m not talking about an uninspired intellectual awareness. I’m talking about when you feel it in your guts, when you’re intoxicated by curiosity about what might be around the next corner.
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