Following my experimentation with colour palettes, I made the decision to focus more specifically on creating a sequential set of images. I considered my intended narrative:
Rubber tapping as a ritualistic activity – by moonlight, the white sap is extracted from the tree. Light itself is ‘obtained’, a light as bright as day.
Within my panels I include forest scenes and bleached out organic shapes. In chopping the copies of the found photographs, I was able to experiment with potential crops for comic panels. I often struggle to create a composition I like when given a small window and so this method of storyboarding really helped provide some quick selections of image. The crops felt far more interesting as a series than simply each entire image due to drawing attention to particular elements within each scene that would not have been so intensely appreciated otherwise.
The above process I put together in my sketchbook was a stepping stone activity to splitting the narrative into sections and potential single images. It got me to consider how I could set the scene without the text so directly included.