Illustration

Permanent Link: https://hdl.handle.net/10177/40386

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Now showing 1 - 8 of 8

Francis Bagby 2024
(2024-11-20) Bagby, Francis
“The Urban Adventures of Pigeon Girl” is a 24-page black-and-white comic strip zine which marks the starting point for an ongoing series. It’s written first and foremost to be a satirical young-adult comedy, while touching on themes of anxiety, social awkwardness, and queer romance. The titular Pigeon Girl must deal with everyday problems while living in downtown Port Detritus circa the early-2000s; it’s a city teeming with monsters, mutants, aliens, and everything in-between! But other than that, it’s pretty normal. Her escapades toe the line between ordinary and absurd, with the setting and surrounding characters exaggerating mundane experiences like buying a CD into over-the-top chaos. She’s often pushed into new scenarios by her outgoing friend Kitty Cactus; Kitty doesn’t know it, but Pigeon Girl has a massive crush on her, which helps motivate the plot in their stories together. While the comic is based on my personal experiences with young adulthood, it’s intended for a broader audience including readers from ages 14 to 25 who value unconventional and lighthearted perspectives on the subject.
Kendall Carnell 2024
(2024-12) Carnell, Kendall
Cafe Mocha, is a young adult graphic novel series about navigating the chaos of adulthood, while also exploring themes of relationships, mental health, and family. After moving to a new town for college, Moka, our kind yet nervous bundle of joy, struggles to adjust to her new surroundings and make new friends. That is until she meets and falls in love with Kohi, the town’s most eccentric inhabitant. Cafe Mocha, will be a graphic novel series consisting of a total of four books. Presented at thesis was the first chapter of the series, which follows the story of Moka trying to get to work on time and Kohi coming to her rescue. This chapter consisted of 12 fully colored pages that mixed digital media and traditional media, mainly watercolor for the backgrounds. I took the watercolor backgrounds and scanned them into Clip Studio, to correct any imperfections, and tweaked them to fit the style of the comic. I have printed a prototype of the comic to be presented as a proof of concept to be pitched to a publisher or to be used for a kickstarter.
Aidryn Hinderhofer 2024
(2024-12-06) Hinderhofer, Aidryn
“Following the Light” is a picture book that deals with themes of personal resilience, community, and queer identity. The story follows a small insect faerie named Moth. They are a mail courier with one last package to deliver who, upon getting distracted by a grove of glowing plant life, finds that they’ve lost their way in the surrounding forest without a light to guide them. Moth wanders until they find their way to another faerie’s door. They introduce themself as Firefly and offer to show Moth to their final destination in order to finish their delivery. “Following the Light” is a 8x10”, 48 page, self ended picture book dummy intended for an audience of older children from the 4th to 6th grades (9-12 years old). The entire book is brought to the rough sketch stage, toned in black and white. Two important spreads, as well as the cover, are finished entirely. The whole thing is compiled in a dummy ready for publisher consideration.
Jordan Flowers 2024
(2024) Flowers, Jordan
Introspection: the examination or observation of one's own mental and emotional process. This set of three paintings and three embroidered doilies simultaneously evokes feelings of isolation and connection, as well as growth.
Ale Uriarte 2024
(2024-11-19) Ale, Uriarte
This is a visual development project, in which I developed a story around three young witches who are all misfits in their own disciplines. In a world in which magic is slowly disappearing, and you can only practice the kind of magic you are born with. An unconventional friendship is born between a healer who would rather break bones instead of fixing them, a necromancer terrified of the dark and everything spooky, and a summoner who is unable to summon in the conventional way who comes from a background of all witches with food related powers. In this project I will show character designs, interactions, prop and background designs and key story moments, which I plan to develop further once I graduate into a visual novel or, if possible, an animated project pitch in the future.
Kota Abe 2024
(2024-11-21) Kota, Abe
Japanese manga is used not only for traditional entertainment, but also for advertising and educational purposes. My objective is to show American readers new uses for manga by combining American comic culture with Japanese manga culture, and at the same time, to promote understanding of Japanese culture.
Alishba Rahim, 2024
(2024-11-25) Rahim, Alishba
Digital Girl World is a teaser and trial episode showcasing the viewer’s attempt at survival after being transported into a horrific version of PNCA. Your only ally, a young, hyperfeminine girl named Nami helping you find a way out of this liminal space PNCA. Can you trust this girl? She looks sweet, but something about her feels…off. Through a merging and contrast of hyperfeminine and retro horror game aesthetics, internet-core and analog elements. I will create a narrative that reclaims hyperfeminine women’s sense of autonomy in the horror genre. The genre is a psychological horror, animated as a visual novel. In the plot of the teaser, after the viewer is transported into the liminal space PNCA, they are immediately chased by shadow people. There the viewer meets Naami, who helps you out by solving a puzzle, which unlocks the elevator, allowing both Naami and the viewer to the next floor. Naami then introduces herself and informs you that the school creates puzzles depending on what the shadow people and the environment want. The two process to explore the floor, and stumble upon a Monster door that wants something to eat. Naami guides you along with a puzzle, unlocking a locker that reveals a still-beating heart. Naami fills the heart with blood and feeds it to the Monster Door. After the door is satisfied, the elevator door opens, indicating the puzzle is solved and the two are free to go. The viewer feels relieved that someone as reliable and totally not suspicious as Naami is there by your side. The core of my thesis is merging a retro horror-game aesthetic with hyper-femininity to reclaim women's sense of autonomy in animation by recontextualizing traditional feminine traits. Most media depict the 'girly girl' as vain, unintelligent, and basic. Someone who has not earned their agency. This correlates with how the interests of young girls are seen through similar lenses of lesser value. Instead, misogyny encourages both men and women to invest their me with traditional masculine, interests/fields/appearance, which are more respected and important in society. This is especially relevant in horror movies, where the hyper-femme girl who is neither the ‘succubus’, ‘femme fatale’, or ‘final girl’ is treated to be insignificant and weak—the victim. This is all exemplified through Digital Girl World’s main character Naami. A smiley and sweet feminine girl, with an ‘off-side’. The goal for the future is to create more episodes where Naami’s true nature gets revealed before it is too late for the viewer to do anything about it. Therefore, crowning the girly Naami as undefeated, forever more. In the plot of the teaser, after the viewer. Link to Digital Girl World: https://www.youtube.com/watch?v=dnUi2lI2H44
Beth Starkey 2024
(2024-11-19) Starkey, Beth
Monsters of Aslamere is a 36-page concept art book, detailing an early civilization fantasy world, with the intention of using it to pitch a video game. The first part of the book details the cast of characters. Part two shows several of the original monster designs created to fill Aslamere’s world. Part three is several finished illustrations used as key art for the feeling of the game. Aslamere is filled with fantastical monsters that still control most of its territories. The people struggle to survive each day, hunting monsters that are just as likely to turn around and return the favor by hunting them. All of this starts to change when a young hunter and aspiring researcher named Kai sets out from their village, along with their small winged familiar, Vanati, determined to create this world’s first monster book. Kai grew up fascinated by monsters rather than fearing them, and so explores every corner of Aslamere to hunt down every monster, gathering information about each of them in different ways. With some luck, food, and a gentle hand, Kai is even able to tame some monsters to bring back to their village. Doing so helps their people expand and open up greater possibilities for farming, crafting, hunting, and traveling for Aslamere, setting the trail for animal domestication in this world.

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