Body is a Home:

The Audience

The intended audience for this book is young adults, the general public, and fellow artists. Notably, there are depictions of violence, blood, gore, and generally traumatic events throughout the series.

Problems and
Solutions

My storytelling method of choice was a style that is similar to a children’s book, combining body copy and illustrations, but making it appealing to my intended audience with age-appropriate subject matter created a challenge. Maintaining stylistic consistency in the writing, character depictions, background/setting design, and pacing while still growing and changing as an artist meant that I needed to make standards for everything and take notes. For these reasons, I worked closely with a writer, fixed up my narrative and plot, and made sure the story actually made sense before moving past the sketching phase.‍

Creating a mood and setting that connects to the characters consistently and functionally emerged as another hurdle, in the long term schedule. I’ve had experience creating characters and settings in the past, but not to the extent of making them interact in a direct narrative that follows their changes over time such as in Null.

Roles

I am the artist, illustrator, character designer, editor, cover designer, taking on the responsibilities from ideation to final printing and sharing of the book. Writing and editing assistance were done by freelance writer, editor, and colleague Stephon “Steph” Lott, contact at stephonslott@gmail.com .‍

The Process

I started out by writing out character descriptions and loose designs, then later collaborated with Lott to get the plot, dialogue established. This step helped to refine physical and personality designs, and put realistic standards on everything from a writer’s perspective.

‍Each page layout was first sketched on paper then scanned to be digitally refined and rendered to the final images and text. This was the longest part, in addition to small changes to the text or dialogue as time went on while rendering each spread. ‍The rendering style was inspired by an etching technique, using contour hatching to give it a textured and dark feel, fitting the setting and subject matter. Level and style of details vary situationally as this functions as a plot device.

Cover designs, inside and outside, credits page, and a final message followed the content of the book. These parts, though mundane, are just as important if not more so as they are what bring attention to the product and give it the space it needs to exist. These pieces allow the story to be a book, and function as a gateway for the reader to enter into the world we’ve created.

The full story is a three part series, in progress, that follows Null all the way home and into his life once he finds his new life and makes it out of harm’s way, finally.

Results

Null Part 1 is fully written, illustrated, edited, and was printed in a small batch. Currently available through personal sales or to read by request through myself. Plans for the second part are in the works, with learnings from this first part recorded to make the process smoother. 

Learnings

- Making functional character designs, putting them into real spaces and giving them realistic personalities
- Collaboration with someone outside of my field, taking critique and input from a non-designer’s point of view.
- Long term project management, scheduling, working across time zones

Conclusion

Founded on a zine that was originally planned to last a few months from start to finish, this project grew into a larger plan and became a long term dedication to the three part series and full plot execution. A first edition is complete, with help from Lott, and I look forward to continuing the series to its end over time.