Woah. Super cool. I love how dramatic these are. I think the first one is my favorite. The silhouette of the cat reads really strong and his unsettling expression gives the whole composition a creepy feel. I had a blast sketching over top of it. I wanted to give more energy and depth to the composition. This is a really cool idea that you could add a lot to. Maybe some flys buzzing around the cat, a crooked picture on the wall, or some more knick knacks on the back of the toilet could add to the story too. Keep going with this one. It’s cool.

I was not really happy with my thumbnails, so I did a lot more. I also tried to work digitally instead, and found it was a lot easier to move things around and play with light and shadow.

Hi @Mandy Valin I really like your drawing style for this story. It's a very good fit. I'm drawn to the image of Charlotte stepping through the sideboards. It reads a bit more clearly to me going left to right and the introduction of light can help communicate story (light=freedom), as well as enhance the aesthetic of the scene.

@Mario Klingeberg Very thoughtful compositions here and I love the notes. This is such a helpful way to present the work for the Art Director to understand your intention. All the sketches are interesting, but 3 is very unique in composition and staging. You are using light as a strong tool in your story telling and I think the reader would be delighted to see a finished image with this much layering in the visual communication. I also like No. 1, too and it could be approached nearly as a graphic, flat solution in the foreground and rendered in the background. Most of the emotion could be conveyed in the horse's positioning and you wouldn't necessarily have to get the details of the rider's faces in there. Cheers!

@Dax Hansen Both of these approaches are valid. In the sketch with Queequeg- you are taking on the role of an illustrator with a fully narrative approach to the work. I don't know that you need the shrunken head in the image, as the connection between the quilted pattern and tattoos could be very interesting. I may encourage that the entire piece becomes pattern dominant as the first read and the figure's faces pushed to the top corner as a second read. In the alternative approach- you are taking on the role of a designer, using graphic elements as symbols to tell the story. Both work in very interesting, but different ways. Which is the more natural fit for the type of work that you want to make? I've been both in my career and ultimately, these approaches can be blended and paired together quite nicely, but it take an understanding of each of their roles. I'm drawing to the graphic solution as an idea, but it might not hold the page and viewer's interest and much as the illustrative sketch to the right.

@edel82 Rich and evocative thumbnails, Edel. No.3 has an amazing setup for storytelling. I don't know the intimate details of the scene, but I'm assuming Mrs. Stapleton is found dead? I feel like she can become more of the centerpiece of the illustration- brought around the beam, towards the viewer. Additionally, if you can lift her off the ground- it becomes that much more terrifying. Use light and additional elements for framing and you have yourself a very powerful setup for your piece.

@Sita Rabeling In sketch 1- the introduction of a light source and shadow can add more visual interest to your sketch. In the second sketch, I'd advise avoiding showing Peter straight on. There will be more visual interest if he is turned. I hope this helps!

Brilliant!

All 3 of these are great! The figures look strong and mysterious. The low horizon line and dramatic perspective pull the viewer into the scene. and the spears and tools give it all a really cool silhouette.